{"query_id": 12351, "query": "passage de l'onde nerveuse [...]. Ensuite les phénomènes de précipitation et de devancement, et au contraire de retard (hystérèsis), d' _après-coup_ , suivant les oscillations de l'onde devançante ou retardée54 ».\n\nTrois mots donc, à partir desquels Deleuze associe : l' _hyperesthésie_ ou son contraire l' _anesthésie_ (du grec _aesthesis_ , la sensation), ces", "answers": ["fameuses hypersensibilité ou insensibilité qu'on prêtait à l'hystérique ; l' _hystérèsis_ (du grec _usteresis_ , le retard), la persistance d'un phénomène quand cesse la cause qui l'a produit ; et enfin l' _hystérie_ (du grec _hustera_ , la matrice). Trois vocables apparemment sans liens (leurs étymologies diffèrent), autour desquels Deleuze fait tourner l'hysté"], "pos": [], "neg": ["ien est sous-tendu par un « et » paradoxal qui subsiste en deçà de ce qu'il définit, c'est que sa puissance d'affirmation ne se réduit pas à la conscience ou au sens commun ; encore faut-il être capable d'associer des disparates...\n\nLa _langue III_ sera donc celle des agencements et des relations, des glissements et plissements. Contre le principe cartésien du « clair _et_ distinct », Deleuze retrouve la logique des idées le", "ibniziennes : une idée peut être confuse _en tant que claire_ , distincte _et_ obscure, comme le murmure de la mer que décrit Leibniz (tantôt domine l'aperception du bruit d'ensemble, tantôt celle des petites perceptions composant le bruit). Le distinct-obscur est l'ivresse, l'Idée dionysiaque. Et peut-être, souligne Deleuze, « faut-il Apollon, le penseur clair-confus, pour", "penser les Idées de Dionysos. Mais jamais les deux ne se réunissent pour reconstituer une lumière naturelle. Ils composent plutôt deux langues chiffrées dans le langage philosophique, et pour l'exercice divergent des facultés : le disparate du style22 ». Ainsi en est-il de cette _langue III_ , langue qui agence le dispars et les disjonctions, langue de la discordance, qui se rit du « libre accord des facultés entre elles » dans la finalité esthétique kant", "ienne.\n\nIl arrive en effet que les dissociations opérées dessinent des couples qui risquent le pur affrontement dualiste : _Aiôn_ contre _Chronos_ , corps morcelé contre corps sans organes, mot-passion contre mot-action, virtuel contre possible, surface contre profondeur, humour masochiste contre ironie sadique... On ne rappellera pas la détestation bien connue de Deleuze envers la dialectique hégélienne23 ou sa proclamation d'un « anti-hégéli", "anisme généralisé » dans son avant-propos à _Différence et répétition_ en 1969. À la dialectique hégélienne (l'art des processus médiatisés), il substitue la dialectique des anciens stoïciens (l'art des conjugaisons paradoxales). L'essentiel est alors dans la logique du pli que promeut Deleuze, celle des zones d'indistinction et d'échanges où l'un passe dans l'autre, où la profondeur", "remonte à la surface, où – comme chez Foucault –, le dedans tout entier « co-présent à l'espace du dehors sur la ligne du pli » se constitue « par le plissement du dehors24 ». _Plissements_ , _glissements_ mettent en mouvement la _langue III_ : loin de fonctionner selon une structure systémique rigide, elle opère par variations et combinaisons, zones de recouvrement et d'indécision, là où le clair ne se sépare plus", "de l'obscur, où les contours s'effacent ou se mettent à trembler. Ainsi en art, ces zones d'indétermination où « le matériau passe dans la sensation25 ». Il ne s'agit donc pas d'un système clos, mais d'une composition mouvante, agitée d'événements, ou de cette mise en variation continue de la matière qu'il décèle dans le pli baroque. L'agencement est en extension, un peu comme les passions chez Hume, que l'", "imagination étire infiniment et projette au-delà de leurs limites naturelles. L'agencement est la marque stylistique de Deleuze : il invente une logique mobile faite de termes hétérogènes qui fonctionnent ensemble, non par filiation mais par alliages. Contre la syntaxe hiérarchisée et subordinative, il invente la vitesse des compositions par rencontres et recouvrements.\n\nCe que Deleuze nomme le devenir, c'est précisément ce gl", "issement de l'un incessamment recouvert par l'autre, mais qui continue à « subvenir » et à « subsister » sous l'autre. Ce syntagme essentiel (« qui subsiste et insiste »), nous le retrouverons. Tant il est vrai que la langue de Deleuze, aussi limpide soit-elle, incline vers un « nouveau type de langage ésotérique » qu'il appelle aussi de ses vœux. C'est toute son œuvre philosophique alors, qui peut se lire comme un art de la composition par", "agencements complexes, d'un livre à l'autre, entre répétition et différence, avec ou sans Guattari (même quand il est seul à signer, il sait qu'on n'est jamais seul pour penser ou écrire).\n\nPrenons deux exemples très simples (comme dirait Deleuze) de ces opérateurs logiques de glissements et de plissements dans la _langue III_. D'abord celui de l'usage singulier et légèrement distordu qu'il fait de certaines pré", "positions. Une préposition, comme l'on sait, est une partie du discours qui, placée devant un élément à valeur nominale, le lie en le subordonnant à un autre élément26. Deleuze brise cette logique de la subordination, de la dépendance étroite, en l'ouvrant à d'autres agencements. Ainsi, _crier à, devenir avec, passer dans_..., sur le modèle de cette locution empruntée à K.P. Moritz et qu'il c", "ite plusieurs fois : « Quel homme [...] n'a pas senti ce moment extrême où il n'était rien qu'une bête et devenait responsable, non pas des veaux qui meurent mais _devant_ les veaux qui meurent » ( _Francis Bacon_ , p. 21 ; _Mille plateaux_ , p. 294 ; _Qu'est-ce que la philosophie ?_ p. 103). Par exemple, ceci :\n\n– À propos du cri d'Innocent X chez Bacon : « On", "l'exprime dans la formule \"crier à...\" Non pas _devant..._ , ni _de..._ , mis crier _à_ la mort, etc. pour suggérer cet accouplement de forces » ( _Francis Bacon_ , p. 41).\n\n– « On n'est pas dans le monde, on devient _avec_ le monde, on devient en le contemplant » ( _Qu'est-ce que la philosophie ?_ p. 160 ; je souligne) ; ou, plus loin, à propos de l", "'artiste inventeur d'affects : « il nous fait devenir _avec_ eux, il nous prend dans le composé » ( _ibid._ , p. 166).\n\n– « C'est Mrs Dalloway qui perçoit la ville, mais parce qu'elle est _passée dans_ la ville, comme \"une lame à travers toutes choses\" » ( _ibid._ , p. 160 ; je souligne).\n\nSecond exemple, cet usage subtilement équivoque de certains termes simples sur les", "quels joue le glissement des séries. Ainsi _trahir, fuir, s'échapper, contracter_... Équivoques qu'on pourrait croire issues de sa lecture de Proust, mais qui signent plus vraisemblablement l'attention de Deleuze – indissociablement romanesque et conceptuelle – à la duplicité de la langue. Ainsi, par exemple : « il n'y a de vérité que trahie, c'est-à-dire à la fois livrée par l'ennemi et", "révélée par profils ou par morceaux27. » Ou bien, chez Bacon, il s'agit de _défaire_ le visage (le désorganiser, fait surgir la tête sous le visage) mais la viande est aussi « l'épaisse pluie charnelle entourant la tête qui _défait_ son visage sous le parapluie28 » ; alors le visage est aussi _défait_ par la pluie comme on l'est par l'émotion. De même encore", "chez Bacon la _descente_ littérale de la chair sur les os évoque une symbolique descente de croix ; l' _évanouissement_ du corps est indissociablement perte de conscience hystérique et effacement, disparition progressive ; si enfin le corps _s'échappe_ par la bouche, c'est à la fois qu'il s'enfuit et qu'il fuit, s'écoulant au-dehors29.\n\nTout lecteur de Deleuze ressemble au jeune Marcel de", "_La Recherche_ : il apprend à « être sensible aux signes », à appréhender et recevoir les signes émis par le texte, à repérer peu à peu, dans l'ensemble glissant de leur composition, l'imperceptible insistance d'accords discordants. Car si le texte, pour Deleuze, est bien un corps, de quel corps s'agit-il ? « Il n'existe pas de choses ni d'esprits, il n'y a que des corps : corps astraux, corps végét", "aux... », écrit-il. « La biologie aurait raison, si elle savait que les corps en eux-mêmes sont déjà langage. Les linguistes auraient raison s'ils savaient que le langage est toujours celui des corps. [...] On ne s'étonnera pas que l'hystérique fasse parler son corps30. » On retrouvera le corps hystérique à propos de Bacon, mais précisément : c'est la peinture qui est hystérique pour Deleuze, et non le peintre.\n\n## ", "_Quel corps_ ?\n\nPosons donc la question, avec sans doute quelque brutalité : y a-t-il, chez Deleuze, un déni ou une dénégation du corps, du corps propre, personnel-individuel, celui que chacun croit pouvoir dire le sien ? Certes, comme l'on sait, les corps sont chez lui omniprésents, qu'il s'agisse de l'ensemble inorganique des molécules en physique, du corps euclidien de la géométrie, du corps", "du jugement chez Kafka, ou de ce qui agit et pâtit, chez les stoïciens, comme chez Spinoza. Deleuze en effet n'est pas loin, quand il établit la cartographie des corps, d'affirmer avec Spinoza : « Un corps peut être n'importe quoi, ce peut être un animal, ce peut être un corps sonore, ce peut être une âme ou une idée, ce peut être un corpus linguistique, une collectivité31. » Il y a donc _du_ corps, il", "y a _des_ corps, mais qu'en est-il de _mon_ corps ? Est-ce tout à fait par hasard s'il prête à Leibniz ce qu'il nomme un « suspens berkeleyen », semblant lui-même ne pas le rejeter tout à fait : « rien ne nous autorise à conclure à l'existence d'un corps qui serait le nôtre32 » ? Il se peut en effet que le leitmotiv deleuzien du « corps sans organes » ou des « effets incorporels », em", "prunté pour le premier à Antonin Artaud, pour le second au stoïcisme antique, soit aussi à lire comme déni d'une réalité proprement _invivable_ (non plus au sens deleuzien que nous rappelions plus haut – ce qui excède la vie –, mais au sens plus prosaïquement ordinaire ou douloureux d' _insupportable_ ).\n\nPrenons quelques exemples, qu'on aurait tort de réduire à de simples données superficielles ou anecdotiques (on conna", "ît d'ailleurs l'éloge de la surface chez Deleuze). Pour parler de son rapport si singulier au corps, on aurait pu évoquer ( _horresco referens_ , tant le sujet est tabou) ses ongles si étranges, longs et recourbés. On sait ce qu'il en dit ou refuse d'en dire, reprochant à Michel Cressole d'aborder le sujet (« de tous mes amis, aucun n'a jamais remarqué mes ongles, les trouvant tout à fait naturels", ", plantés là au hasard comme par le vent qui apporte des graines et qui ne fait parler personne33 »). Thème auquel visiblement il ne faut pas _toucher_. Comme le souligne René Schérer, Deleuze « a horreur de parler de lui-même, rejette toute allusion à sa propre biographie (ou alors avec un sourire gêné, avec humour, en effleurant, en éludant)34 ». À Cressole, et parmi d'autres explications ostensiblement fantaisistes", "coupant court à toute interprétation intrusive (ma mère me les coupait ; c'est lié à l'Œdipe et à la castration...), il avance un autre motif, celui d'une hypersensibilité tactile qui proscrit tout toucher direct : « toucher du bout des doigts un objet et surtout un tissu m'est une douleur nerveuse qui exige la protection d'ongles longs ». Il serait trop simple (honteusement, grossièrement « psychanalytique »), de gloser sur cette", "enveloppe corporelle hypersensible, cette fragilité alléguée, – fictive ou non –, de la relier, ne fût-ce qu'allusivement, à ce postulat essentiel de sa philosophie : il y a un monde d'hypersensibilités pré-individuelles rythmant un corps indéfini, en deçà ou au-delà du mien, et dans lequel je suis comme inscrit – un corps idéalisé, traversé d'affects et de percepts, un", "corps vibrant et tactile. Le toucher m'est insupportable ; la sensibilité essentielle est tout autre. Remarquons-le, sans insister.\n\nDeleuze a dit un jour que s'il trouvait ses premiers livres encore trop universitaires, il aimait dans _Différence et répétition_ les pages sur la fatigue ou la contemplation parce qu'elles étaient « du vécu vivant35 ». Il y décrit la « sensibilité vitale première » qui nous traverse, ce monde des synthèses", "passives qui détermine notre habitude de vivre, notre attente que « cela » continue ainsi, une contraction après l'autre. Nous sommes, dit-il, cette passivité constituante qui peut s'affaisser en fatigue (lorsque l'âme ne peut plus contracter), comme elle peut aussi s'élever en contemplation : « Nous sommes de l'eau, de la terre, de la lumière et de l'air contractés, non seulement avant de les connaître ou de les représenter, mais avant de les sent", "ir. Tout organisme est, dans ses éléments réceptifs et perceptifs, mais aussi dans ses viscères, une somme de contractions, de rétentions et d'attentes36. »\n\nIl évoque donc un rythme de contractions passives, dans ses éléments réceptifs et perceptifs, qui enracine en quelque sorte le corps dans cette passivité constituante qui forme _le vivant_. À ce niveau où se situe Deleuze, le corps est un champ d'expérience affranchi de", "la tutelle d'un sujet, un milieu réceptif sans contours qui ne se distingue qu'à peine des autres éléments organiques non humains qui constituent la vie. On trouve constamment chez Deleuze l'affirmation d'une vie organique et anorganique fondamentale, transhumaine, à laquelle nous appartenons, sans hiérarchie, ni distinction particulière. Nous faisons partie de cette vaste vie organique où l'humain et le non humain ne sont pas différenciés. C'est cela qu'il", "entend par cette « passivité constitutive des corps » qui s'oppose à la maîtrise active du sujet conscient humain : un fonds commun d'appartenance _du_ corps (en tant qu'indéfini) à un flux de vitalité indifférenciée, qui dépasse l'humain.\n\nCette « contemplation contractante » qui constitue l'organisme renvoie donc à ce « système du moi dissous » dont il retrouve la parenté dans les « sujets larvaires » de Samuel Beckett. Dans", "tous ses romans, souligne-t-il, Beckett a décrit l'inventaire des propriétés auquel se livrent des sujets larvaires : « la série des cailloux de Molloy, des biscuits de Murphy, des propriétés de Malone – il s'agit toujours de soutirer une petite différence » ; et il ajoute ceci : « Sans doute est-ce une des intentions les plus profondes du \"nouveau roman\" que de rejoindre, en deçà de la synthèse active, le domaine des", "synthèses passives qui nous constituent, modifications, tropismes et petites propriétés37. » Pour illustrer ce que suggère Deleuze, on pourrait évoquer les premiers « tropismes » que Nathalie Sarraute commence à écrire en 1932. Héritière revendiquée de James Joyce et de Virginia Woolf ( _Ulysse_ date de 1921, _Mrs Dalloway_ de 1925), elle explore à son tour l'univers des flux corpor", "els et psychiques. Ce mot de « tropisme », elle l'emprunte à la biologie, au sens d'un mouvement d'approche ou de recul (chez les insectes), d'une réaction d'orientation (chez les végétaux par exemple) en fonction d'un agent d'ordre chimique ou d'une excitation extérieure comme la lumière ou la chaleur. Dans la préface à _L'Ère du soupçon_ en 1956, elle explique ceci : « Ce sont des mouvements indéfinissables,", "qui glissent très rapidement aux limites de notre conscience ; ils sont à l'origine de nos gestes, de nos paroles, des sentiments que nous manifestons, que nous croyons éprouver et qu'il est possible de définir. Ils me paraissaient et me paraissent encore constituer la source secrète de notre existence [...]38. » Elle précise un peu plus loin que ces micromouvements se développent et s'évanouissent en nous avec une extrême rapidité, produisant souvent des sensations très intenses mais brèves", "; ce sont précisément ces sensations qu'il s'agit de faire éprouver au lecteur. Et elle ajoute : « les tropismes ont continué à être la substance vivante de tous mes livres. »\n\nDe quoi s'agit-il plus précisément chez elle ? De ce qui vit et grouille en deçà de l'expérience humaine, ces mouvements imperceptibles et quasi instinctifs d'expansion et de rétractation des corps, ces perceptions infimes qui agitent la substance physique et psych", "ique des organismes. Dans la préface qu'il donna à son roman _Portrait d'un inconnu_ en 1947, Jean-Paul Sartre écrivait ceci : « Nathalie Sarraute a une vision protoplasmique de notre univers intérieur : ôtez la pierre du lieu commun, vous trouverez des coulées, des baves, des mucus, des mouvements hésitants, amiboïdes. Son vocabulaire est d'une richesse incomparable pour suggérer les l", "entes reptations centrifuges de ces élixirs visqueux et vivants39. » Sartre lit sans aucun doute dans ces infra-mouvements amiboïdes ses propres dégoûts nauséeux mais il saisit avec une particulière acuité ce monde de contractions et dilatations qui chez Sarraute défait la particularité des individus, dissout les limites de leurs corps et de leurs psychismes dans une sensibilité vitale qui les traverse.\n\nDans _Mille plateaux_ ,", "Deleuze et Guattari analysent l'existence chez elle de deux plans d'écriture : l'un, classique, qui organise les formes et motifs, l'autre qui « libère les particules d'une matière anonyme, les fait communiquer à travers \"l'enveloppe\" des formes et des sujets, et ne retient entre ces particules que des rapports de mouvement et de repos, de vitesse et de lenteur, d'affects flottants ». Et, de même remarquent", "-ils, dans _L'Ère du soupçon_ , Sarraute montre clairement comment Proust, l'une de ses références majeures, reste partagé entre les deux plans : il extrait de ses personnages « les parcelles infimes d'une matière impalpable » tout en recollant ces particules en la forme cohérente de personnages40. Perception fine, écoute quasi rhizomatique de ces micro-phénomènes sensoriels de contractions et de dilatations chez Sarraute qui n'est pas très lo", "in, on le voit, des flux deleuziens de vitalité indifférenciée.\n\nCette immanence absolue, cette contemplation de la synthèse passive, c'est cela donc que Deleuze appelle _une_ vie, _un_ corps. Certes, encore une fois, mais _mon_ corps ?\n\nOn connaît son éloge de l'anorexie, dans les _Dialogues_. L'anorexique, écrit-il, cherche à se faire un corps sans organes. Pour lui ou elle,", "l'aliment « est plein de larves et de poisons, vers et bactéries, essentiellement impurs, d'où la nécessité d'en extraire des particules ou d'en recracher41 ». L'anorexique capte des particules alimentaires, agence des flux. Il ne s'agit pas d'un refus du corps, précise Deleuze, mais d'un refus de l'organisme. Il fait de l'anorexique le même portrait que du schizo dans _L'Anti", "-Œdipe_ ou _Mille plateaux_ : corps peuplé d'intensités, litanie des disjonctions, flux d'énergies, brouillage des codes, rébellion politique. Deleuze refuse de croire à la théorie freudienne de la pulsion de mort ; il préfère parler d'instinct de mort, instance transcendantale et silencieuse de Thanatos, le sans-fond42 et son effet incorporel, à la surface des corps : la fêlure silencieuse", ". Ce déni des limites corporelles dans l'anorexie, ce rejet d'une emprise intolérable de l'organique, cette toute-puissance fantasmée d'un corps aérien et quasi incorporel, à son tour il les dénie ou feint de les ignorer : il fait de l'anorexique un artiste, un révolté, un passionné des signes. Il n'est pas loin de faire du déni du corps propre la condition même de la vie et de la création. Comme chez le schizo pour", "tant, l'agencement anorexique, peut un jour « dérailler », concède-t-il, devenir autodestructeur et mortifère. Toute la question est là pour Deleuze, et on y reviendra : comment éviter que la fêlure incorporelle ne s'enkyste dans la chair ?\n\nLui-même, dans _l'Abécédaire_ , ses entretiens avec Claire Parnet, diffusés à sa demande expresse à titre posthume, évoque avec humour ses", "propres dégoûts alimentaires. Juste après la lettre « L comme littérature », il parle de son rapport à la nourriture : « manger, ça ne m'a jamais intéressé ; ça m'ennuie à périr... » Manger avec quelqu'un, en revanche, ajoute-t-il, « ça ne transforme pas la nourriture, mais ça permet de _supporter_ de manger ». Il explique qu'il y a tout de même trois aliments, qui lui paraissent « subl", "imes », alors même qu'ils provoquent « un dégoût universel ». Ces trois choses « proprement dégoûtantes », ce sont : la langue, la cervelle et la moelle. « Après tout, ajoute-t-il en riant, je supporte bien le fromage des autres alors que ce goût me paraît à peu près du même type que le cannibalisme ; c'est pareil ; une horreur absolue. » Renversement paradoxal et humoristique, là encore : il assimile la consommation de fromage", "à du cannibalisme et, nouveau Léopold Bloom, il se délecte à l'idée de dévorer l'intérieur des corps43. Il ajoute d'ailleurs, prolongeant avec gourmandise le plaisant paradoxe qu'il défend : ces trois choses « sublimes », c'est « une espèce de Trinité ». La cervelle, c'est Dieu ; la moelle, c'est le Fils, et la langue c'est le Saint-Esprit. Peu importe ", "ici les explications sciemment extravagantes qu'il donne de ces équivalences et dont la bizarrerie l'amuse visiblement. Ici encore, toute interprétation psychanalytique en termes de renversement hystérique du dégoût en « fête », comme il dit, serait insuffisante. À peine peut-on suggérer une imperceptible fêlure qui maintient à distance les rituels sociaux des plaisirs de table et autres célébrations culinaires.\n\nCe thème de", "la fêlure revient régulièrement à partir de _Logique du sens_. Deleuze l'emprunte à Fitzgerald et à Malcom Lowry. Il la retrouve chez Zola, dans la fêlure cérébrale de Jacques Lantier, le héros de _la Bête humaine_. Cette imperceptible « crevasse de la pensée », Deleuze l'interprète comme le travail silencieux de l'instinct de mort. Sur la maladie, la souffrance, l'addiction alcoolique", ", l'insuffisance respiratoire qu'il ne nomme pas, il écrit des phrases d'une terrible beauté. Par exemple ceci :\n\n> « Si l'on demande pourquoi la santé ne suffirait pas, pourquoi la fêlure est souhaitable, c'est peut-être parce qu'on n'a jamais pensé que par elle et sur les bords, et que tout ce qui fut bon et grand dans l'humanité entre et sort par elle, chez des gens prompts à se détruire eux", "-mêmes, et _que plutôt la mort que la santé qu'on nous propose_44. »\n\nPlus d'une fois, il redit ce qu'il aime chez des penseurs comme Lucrèce, Spinoza, Hume, Nietzsche ou Bergson : bien que de constitution fragile, affectés d'une « petite santé », ils sont pourtant traversés d'une vie insurmontable : « Ils ne procèdent que par puissance positive, et d'affirmation45. » Plutôt que de", "déni (du corps, de la maladie), il faudrait alors évoquer chez lui un processus de dénégation, à condition de préciser quel sens Deleuze confère à ce terme. Il ne s'embarrasse guère en effet des subtiles distinctions de traduction suggérées par Laplanche et Pontalis à propos des termes freudiens de déni ( _Verleugnung_ ) et de dénégation ( _Verneinung_ )46. Pour les auteurs du _Vocabulaire de la psych", "analyse_ , le déni (de la réalité) rend compte spécifiquement du mécanisme à l'œuvre dans le fétichisme et les psychoses, au sens du refus de la perception d'un fait s'imposant dans le monde extérieur. De son côté, la dénégation suppose une admission intellectuelle du refoulé tandis que persiste l'essentiel du refoulement. Deleuze, dans sa _Présentation de Sacher-Masoch_ , – sans doute son ouvrage le plus psychanalyt", "ique, encore très influencé par les théories jungiennes47 –, donne une définition très différente de la dénégation, qui ressortit selon lui, comme chez Spinoza ou Nietzsche, à une autre logique du négatif. La dénégation du masochiste ne consiste pas à nier ni à détruire, écrit-il, mais « à contester le bien-fondé de ce qui est, à affecter ce qui est d'une sorte de suspension, de neutralisation, propres à _nous ouvrir", ", au-delà du donné, un nouvel horizon non donné_48 ». La froideur de l'idéal masochiste, on l'a vu, il l'analyse comme dénégation de la sensualité, affirmation d'une sentimentalité « suprasensuelle », véritable « transmutation ». C'est assez dire qu'il interprète Masoch au prisme de la transmutation nietzschéenne des valeurs. Alors la dénégation se convertit en puissance d'affirmer et passe au service", "d'un « excédent de vie49 ».\n\n##  _Logique de l'incorporel_\n\nLes associations logiques (littéraires et philosophiques) de vocables auxquelles se livre Deleuze ne sont jamais aussi pénétrantes que lorsqu'on les suit, d'un livre à l'autre. Ainsi en est-il de ce mot de _contrat_ autour duquel se concentre une part essentielle de son analyse du masochisme. Il y a, dit-il, dans le masochisme", ", un aspect juridique souvent inaperçu, celui de cette fonction contractuelle d'établissement d'une loi cruelle à laquelle il se soumet. Pourtant, ajoute-t-il, la culpabilité du masochiste par rapport à la loi diffère de celle du névrosé, clairement mise en évidence par Freud. Chez le névrosé au sens freudien, la conscience morale naît du renoncement ; plus le renoncement s'exerce avec rigueur, et plus la conscience morale est tyran", "nique. Humoristique retournement du masochiste : il tourne la loi en faisant du châtiment l'une des conditions du plaisir défendu – usage pervers et triomphant de la loi50. Alors, comme chez Hume, la société n'est plus pensée comme système de limitations légales et contractuelles (le « contrat social »), mais comme _invention_ institutionnelle51. Le social humien est par définition créateur, l'homme est une « espèce inventive52 ». De même le contrat masoch", "iste s'entend non pas comme _convention_ , mais comme artifice et _invention_. On voit comment pour Deleuze la perversion rejoint la philosophie politique...\n\nComment Deleuze passe-t-il du _contrat_ à la _contraction_ ? Par association d'idées, croisement étymologique, emprunt au même Hume. Reprenant l'analyse de l'habitude chez Hume et Bergson, il en fait l'essence de l'âme contemplative (contraction et synthèse passive", "). « L'habitude dans son essence est contraction, souligne Deleuze. Le langage en témoigne, quand il parle de \"contracter\" une habitude et n'emploie le verbe contracter qu'avec un complément capable de constituer un habitus53. » C'est sur le défilé des sens du latin _contrahere_ (« tirer ensemble ») qu'il joue ici : resserrer, réduire (une contraction), mais aussi établir des rapports étroits, conclure un accord (", "un contrat), répéter mécaniquement (une habitude). Et de même la contraction hystérique que Deleuze repère dans la peinture de Bacon obéit-elle au même modèle analogique ; elle lui permet d'évoquer ensemble, dans un étourdissant survol, les hystériques de la Salpêtrière, Beckett et Bacon, sans oublier dans une note furtive, l'hystérie présumée de Sartre et Flaubert. Suivons un instant, non pas la démonstr", "ation de Deleuze (il ne démontre ni n'argumente), mais la rapidité des assertions, des contagions conceptuelles et sonores qui imprègnent son texte et, littéralement, le font vivre. Il faut insister sur ce point essentiel : il ne s'agit pas (seulement) d'un éblouissant exercice de style ; ce qui se joue dans ces pages n'est rien moins qu'une autre définition du corps et de l'existence.\n\n_Francis Bacon, Logique de la"], "context": "", "task": "lrlm", "teacher_scores": [-2.078125, -2.09375, -2.109375, -2.109375, -2.125, -2.203125, -2.109375, -2.109375, -2.078125, -2.03125, -2.09375, -2.234375, -2.109375, -2.109375, -2.09375, -2.03125, -2.015625, -2.0, -1.96875, -2.078125, -2.109375, -2.0625, -2.109375, -2.203125, -2.1875, -2.25, -2.171875, -2.125, -2.125, -2.234375, -2.109375, -2.203125, -2.125, -2.0625, -2.1875, -2.265625, -2.25, -2.109375, -2.15625, -2.171875, -2.09375, -2.0625, -2.125, -2.109375, -2.109375, -2.171875, -2.203125, -2.15625, -2.0, -2.125, -2.171875, -2.15625, -2.125, -2.09375, -2.09375, -2.125, -2.09375, -2.09375, -2.015625, -2.0, -2.0625, -1.9921875, -1.921875, -2.046875]}
{"query_id": 19546, "query": "perately, and had found in his guidance counselor.\n\n\"One time?\"\n\n\"I promise.\"\n\nThe promise didn't ring as hollow as it should have. \"When?\"\n\n\"It was the last time. It's more than ten years, Mary. I told him he couldn't come any more. That's it. The last time. The only time.\"\n\n\"Why?\"\n\n\"Why?\"\n\n\"Yes, why? The one time? Why then?\"\n\nSylvie took a moment before she admitted, \"It was after my", "answers": ["mother died. I was turning forty-five. I was feeling so _old_. It was already years since any man touched me. I was a little drunk. I thought it might never happen for me again. He pitied me. I felt like such a fool after.\"\n\nAs Sylvie blushed and huffed, fiddling with her cigarette, Mary remembered reading something about French women believing that all women of a certain age must make a choice between their forward faces and lagging behinds. There was some sensible reasoning involved; one needed fat to plump out the wrinkles and make"], "pos": [], "neg": ["man twice her age after graduation, returned pregnant and drug-addicted when her father died, banished again after a hair-pulling fight with her mother and some years later arrested for prostitution in Toronto. When beautiful tragi-thin Heather wasn't jonesing for a smoke she was following some other destructive path, which embittered Mary because, without even trying, Heather had it all. The last time Gooch spoke to Heather, she was living in Buffalo with the paramedic who'd resuscitated her after her last accidental overdose.\n", "\nThe stained silver broadloom. The broken glass. The bloody dishtowel on the floor. Nothing as it was, nothing as it should be. Mary denied her fear, scrambling what was left in the egg carton, six perfect eggs, telling herself that the extra portion was in case Gooch arrived hungry. At the kitchen table she sat in his chair rather than her own, so as not to face his empty seat, and so that she could see the door.\n\nMany years ago, she'd suggested Orin do the same after they'd placed her mother at St. John", "'s, and he confessed he'd lost his appetite. She understood that the habit of eating together must be as difficult to break as the habit of eating alone. As she shifted the last of the eggs from the skillet to her plate, worry stung her throat, and she wondered briefly if she might cry. She swallowed instead, another habit too difficult to break.\n\nA _good_ cry. Appropriate under the circumstances. Tears, snot, choke, gulp, whimper, whine. But not for Mary. Crying, like travel", "ing, a pointless journey to an uncertain place where she couldn't speak the language and wouldn't like the food. Even after her hysterectomy and the hysteria suggested therein, Mary had not cried for the babies that would never be. She'd endured a premature and instant transit to menopause, aching and paining, flashing with heat, sweating in bed, but not weeping. Grief stuck like a lump in her throat.\n\nDigging into the junk drawer, she found the little white box with the little gold", "bow that Gooch had given her on her birthday last March. A cellular phone. She'd been annoyed by the gift, considering he knew she didn't _want_ a mobile phone. Instead of thank you she'd said, \"You know I won't use this, hon. I won't remember to put it in my purse. Besides, who do I need to call?\"\n\nOpening the box now, she was surprised to find a card addressed to her. Inside the card Gooch had written carefully, _Welcome to the new world, Mary Gooch. I", "have written cellphone instructions for connect-o-phobes along with your own personal telephone number on a card you can keep in your wallet. You have to plug it in to charge it, Mare. And you have to keep it in your purse so you'll have it when you need it. Happy Birthday from your favorite husband._\n\nReading Gooch's instructions, she discovered that the phone needed to be plugged into an adaptable charger and the battery energized for the better part of a day. She plugged the phone in, delighted when it proclaimed, _", "Charging_. Gooch would be proud, she thought, and suddenly felt the weight of his disappointment, which she hadn't noticed at the time. How could she have been so ungrateful? She envied the French singer who regretted nothing. She regretted all.\n\nThe willow shivered a greeting as Mary limped out the seldom-used front door, dressed for work in her rumpled uniform, her hair gathered into a pony tangle, a stack of old towels in the crook of her arm for the wet seat in the truck", ". She started for the truck but her attention was caught by a flag of fabric flapping on a high tree branch. Gooch's shirt. Wearing her old winter boots to accommodate the sanitary napkin she'd taped to her bleeding heel, she turned to scan the distant road.\n\nInhaling the cold air, Mary wished idly, the way children do, that she could blink and Gooch would be on that road. The wind whipped her face, blowing damp leaves against her legs. She had the sense that she was moving uph", "ill when she was certainly staggering down. She climbed into the pickup truck, a tight, crushing feeling in her chest, blood rushing to her cheeks. She squinted, peering through her vascular tunnels. No lights at the other end. The massive coronary? The timing would be perfect. The triangle could close. Orin. Mr. Barkley. Mary Gooch.\n\nShe wondered if Gooch, wherever he had gone, would return for her funeral. Then she realized, with familiar panic, that she did not have a thing", "to wear. There was nothing to do but laugh out loud, which she did. Nothing to wear but her navy blue scrubs. An image of a large woman in an oversized casket, hands crossed over her Raymond Russell Drugstore uniform, those hideous silver roots. She hit the button on the radio, and cranked up the volume, encouraged by Aretha Franklin demanding R-E-S-P-E-C-T as she urged the truck into gear and rolled out on the rain-slicked gravel.\n\nShe had underestimated the", "dampness of the truck's upholstery, and realized too late that she hadn't brought enough towels. She planned to make some joke about her wet ass in the staff room, before Ray said something behind her thick, hunched back. Acceptance. Denial. Anger. She couldn't remember the order of emotions and so felt them all at once. She wondered if people would be able to tell, just by looking, that her husband had not come home.\n\nIn the beginning, Mary'd thought often of the end. She envisioned", "stepping into the house one evening after work to find a note written in Gooch's scrawl saying he'd never meant to hurt her, reminding her they'd been too young to get married and should have ended it a long time ago. His clothes would be gone from the closet. His tools from the garage. (She always imagined he'd take his tools with him.) He would have given some thought to how they would divide their debt, and mentioned it in the note. She had worried that Gooch would leave after the second miscarriage, then after the hyst", "erectomy. She was certain he would leave after their only vicious quarrel, when he stood firm in his opposition to adoption, arguing that his crazy, drug-addicted sister had given three babies up, as if that were enough said.\n\nShe had shouted at him, in the only dramatic gesture she could honestly recall, _But I want to be a mother!_ He'd turned on his heel and left, but returned three hours later, catching her with her nose in the Kenmore, tearing the leftover roast beef out of", "her fingers, kissing her hard on the mouth and guiding her to their bed, where he held her gaze and whispered, before his final thrust, \"I love you.\"\n\nAnniversary after anniversary Gooch stayed. After a while she stopped expecting the note. She assumed that, like Orin, Gooch was content to be where he was. Or maybe—like her with her food, Gooch's father with the booze, Heather with her drugs—the habit of their union had become, over time, an impossible one to break.\n\nThe phrase \"neither", "here nor there\" came to mind when Mary considered her present state. She wondered if she might find Irma somewhere in this altered universe as she drove the path to work—the one of least resistance, a shortcut back through the county instead of along the serene river road.\n\nThe maple trees shook their red and yellow leaves over Main Street Leaford. Hooper's Hardware Store. Sprague's Sporting Goods. The upscale ladies' clothing shop owned by the Lavals. Raymond Russell's Drugstore, whose soda counter had been transformed years ago into", "a more lucrative cosmetics department. In the parking lot behind the drugstore, watching Ray pull up beside her in his shiny Nissan, Mary remembered a time when no one in Baldoon County drove anything but North American. Ray honked the horn impatiently, rolled down the window and barked, \"Not there! Go in your regular spot!\"\n\nShe cranked down her own window, calling back, \"But the Laura Secord's coming in today!\"\n\nRay shouted through the wind, \"They changed the schedule. It came in last night", ". When you were off.\"\n\nThreatening sky overhead and the wind bearing down on her from the open sunroof, Mary climbed out of the truck. Laughing richly, she turned to present her wide, soggy behind. \"My seat was wet,\" she explained. \"From the rain.\"\n\nRay, scowling, barely glanced her way. \"Good. How's Gooch?\"\n\nShe paused. \"He's got the pink eye.\"\n\n\"And what have _you_ got, Mary?\" He pulled open the back door and", "snapped the toggles on the master switch, igniting the fluorescent tubes above their heads.\n\n\"Watch yourself,\" he warned as she followed him inside. Blocking the aisle was a large carton of assorted chocolates on which the supplier had scribbled in thick black marker, _For Mary Gooch_. Mary shuddered from a pain in her gut. \"Will you do something with that before somebody kills themselves?\" he demanded.\n\nMary bent to pick up the box but they both knew it was only a pretense. Ray sniff", "ed his contempt and lifted it himself, dropping the cartons into Mary's arms without gallantry.\n\n\"Sorry,\" Mary said, thinking that if she were Candace, Ray would carry the box the full distance to her car, balanced on his squat little erection.\n\nThe back door to the pharmacy banged shut from the gusting wind as Mary toted the chocolates out to the parking lot. She lifted it into the passenger seat, wincing from the gas in her gut which she tried to, but could not, release. She turned when she", "heard a car. A sleek gold Cadillac, Gooch's boss, Theo Fotopolis, at the wheel. She squeezed her buttocks together, afraid to foul the air as he parked in the spot beside her.\n\nTheo Fotopolis removed his swarthy frame from the car and strode toward Mary in her navy scrubs. \"I called the house,\" he said, smiling warmly. \"Nobody answered so I drove out.\"\n\nShe nodded dumbly.\n\n\"You need to fix that window on the", "back door. You're letting out the heat.\"\n\n\"Yeah.\"\n\n\"Just put a cardboard for now.\" The Greek lifted his arms in a gesture of confusion. \"So what the hell, Mary?\" She caught her breath. \"What happened with Gooch?\" he asked. \"Mr. Chung called me an hour ago to say my truck is blocking his produce guy.\"\n\n\"Mr. Chung?\"\n\n\"Gooch left it there, my truck, behind the restaurant.\"\n\n\"Left the truck? At Mr. Chung's?\" Mary shook", "her head, not understanding. \"When? Why?\"\n\n\"After they closed. Chung said it must have been after midnight. You tell me why.\"\n\n\"But Gooch had that delivery in Windsor last night.\"\n\n\"He didn't make it. It was still in the truck. Didn't he come home last night?\"\n\nMary paused. \"No.\"\n\n\"He didn't call you?\"\n\nAnother pause. \"No.\"\n\n\"It's none of my business but... does he do this? Does he not come home", "?\"\n\n\"No.\"\n\n\"What the hell, then?\"\n\nMary followed him as he paced a circle. \"He just parked the truck and what? Walked somewhere? I don't understand. Did he eat there?\"\n\n\"No one saw him.\"\n\n\"Had he been drinking?\" she asked.\n\n\"How should I know? _Has_ he been drinking?\"\n\nShe took a moment to consider. \"No more than usual.\"\n\nThe pair stood puzzling as a maelstrom of leaves found their legs. Mary had not", "considered anything resembling this scenario. The Greek's coat pocket played a ringtone and he reached inside for his cellphone. Mary held her breath. Gooch?\n\nThe Greek read the name of the caller. He looked at Mary, shaking his head, and returned the phone to his pocket—the call was not from Gooch. \"He's been acting, I don't know, he's different since your father died.\"\n\nHow had Mary not noticed that?\n\n\"He's been talking about his family. His old man.\"\n\n\"He hated his father", ".\"\n\nThe Greek shrugged. \"Should we call the police?\"\n\n\"The police?\" she asked, alarmed.\n\n\"What if Gooch has been mugged or something?\"\n\n\"Mugged? Gooch? Who in their right mind would mug Gooch? And for what? Twenty-seven dollars and some Scratch 'n' Wins?\"\n\n\"You can't... Mary, I don't want to pry into your private business, but is there any place... any place... you can think he might have gone? Does", "he have a friend?\"\n\nWhat did he mean? Did he know something? Had he known all along?\n\n\"Did he take anything, Mary? Is anything missing from the house?\"\n\n\"No,\" she answered uncertainly.\n\n\"Clothes? Suitcase?\" His cellphone rang again, and she braced herself. He looked at the number, telling Mary, \"My mother's sick back in Athens. I have to take this.\" He turned away for a short, anxious dialogue in Greek before closing the phone. \"Have you checked the bank account?\"\n\n\"", "The bank account? Well, no, of course not. Why would I check the bank account?\"\n\n\"Never mind. I don't know.\"\n\n\"To see if he's taken money?\"\n\n\"Maybe.\"\n\n\"Gooch wouldn't do that.\"\n\n\"I just don't understand.\" The Greek shrugged again, his work, such as it was, done. His cellphone rang again. He took the call, speaking rapidly in his mother tongue. \"You tell him to call me, Mary,\" he instructed Mary when he'd finished his call", ". \"Tell him to phone me when he gets back. And whatever it is, we'll work it out.\"\n\nMary knew she would steal his line when finally she heard from Gooch. _Whatever it is, we'll work it out._ Watching the gold Cadillac disappear, she released, with distinct relief, a symphony of wind.\n\nRay, standing at the door behind her, hollered, \"Nice one, Mary. Class-ee.\"\n\nThe decent thing would have been to pretend he hadn't heard. How long had he been", "standing there? He held the door open, widening his eyes. \"Let's go. Come on! Inventory time!\" He clapped out the syllables. \"In-ven-tor-y.\"\n\nMary found herself paralyzed, keys tingling in her hands, considering the word. _Inventory._ Yes, that's what she needed to do. She needed to take stock. Was she getting this right? Gooch had parked the delivery truck behind Chung's Chinese Restaurant sometime in the night and no one knew where he was? Was", "this how Irma had felt when life finally stopped making any sense?\n\n\"What are you waiting for, Mary? Let's _go!_ \"\n\nShe looked up at the clouds racing past, the sun exposed in fragile, shifting rays.\n\n\"I'm not kidding,\" Ray sneered. \"You haven't been pulling your weight around here, Mary. And I'm not the only one who's noticed.\"\n\nAcceptance, denial—those could wait. Anger.\n\n\"Get to work, Mary.\"\n\n\"Go", "to _hell_ , Ray.\"\n\nIn Ray's expression Mary saw that she had indeed said the words out loud. Climbing into her truck, stabbing the key in the ignition, thrusting the gear into reverse, she peeled out of the parking lot without checking her rearview mirror, seized by a burning feeling in her chest as she played back the conversation with The Greek. Gooch gone. Parked the delivery truck. Disappeared. On their silver anniversary.\n\nIn all her many years of sleepless nights, Mary had felt the", "steadfastness of tomorrow implied in the constancy of each broken dawn. Tomorrow, like greeting-card love, was patient and kind. Tomorrow was encouraging, endlessly forgiving. She had not counted on the sudden betrayal of tomorrow, with whom she thought she shared some silent, tacit agreement. \n\n# Lightning\n\nHad Gooch been there that morning, he would have plunked down across from Mary as he always did, air rushing out of the cracked red vinyl chair, with his nose in the American newspapers that served the area", ", stopping to read aloud from the _Free Press_ or _News_ while she pretended to listen. Gooch loved America, her politics, sports, musicians, authors, her gift of second chances, and Mary felt some pity for him when he mooned over the U.S. of A. He was in love, and the object of his affections didn't even know he existed.\n\nSpeeding down the winding river road under a canopy of flapping geese, she felt the burning in her chest ignite and spread. Gooch. Gone. Where? She", "felt that she was not so much driving as being driven as the black sky rose up in her rearview mirror.\n\nGooch would have informed her about the weather watch before falling silent with the sports pages. He knew how his wife loved a good storm. Mary didn't have time for the newspapers, too intent on her broken promises, too busy with her failures, too preoccupied by her hunger. Life outside of Leaford was not so much irrelevant to her as it was unconsidered. She didn't view current affairs as essential education—more as a choice, like entertainment.", "_Crisis in the Middle East_ was a dense novel she chose not to read. _Genocide in Africa_ was unconscionable, unbelievable, a badly written movie that got terrible reviews. _Global Warming_? Doesn't sound funny. There's a _whole wide world outside of Leaford_. Wasn't that what Gooch had said?\n\nAt last Mary parked the truck in the lot behind the apartment that overlooked the river in Chatham. So this was what it felt like to master one's", "end, she thought. Not a life but a marriage. And not with narcotics but with the truth. She knew what she had to do, but her resolve was not quite firm enough, and like a gunslinger slugging back that final shot of whisky in a western, she sought courage in Laura Secord.\n\nA reprieve in the chocolate. Mary might have described tearing open the cardboard as something like rapture, enveloped as she was by the heavenly scent of cocoa, and lifted by a sense of well-being. Breathing deeply", ", she peeled the plastic wrapping from one box, and another and another, tossing aside the lids, digging at the confections, shoveling two and three at a time into her unhinged mandible. She didn't care that chocolate squares were spilling onto the seats and floor as she swiped aside the fluted paper cups. Humming, moaning, her pursuit vaguely erotic, _That's enough,_ she told herself, and then _Just one more_.\n\nThe last time she had been in the corridors", "of the tall, slender building, which always smelled faintly of mildew, she had said her final goodbye to Orin. At least that's what she told herself. In fact he'd been the one to say goodbye, \"See you tomorrow, Murray,\" to which she'd responded with regrettable harshness, \"I picked up a shift, Pop! I'll be late! So don't expect a hot supper!\"—which was not goodbye at all.\n\nOn that night she had stopped, as she always did, at Sylvie La", "fleur's door, not to knock, not to visit, not to thank the older woman for her kindness to Orin, but to listen. To the sound of the television broadcasting _Wheel of Fortune_ or some other game show in which regular folk won a fortune in cash and prizes. The sound of the microwave beeping. Dishes clattering in the sink. The balcony door sliding open when Sylvie went out to smoke. Lonely sounds, comforting and familiar, for in them she heard the music of her own life.\n\nThe gray car", "peting in the building's hallway was soiled with muddy imprints from tramping boots, but apart from that the place seemed unchanged. Mary passed the door of the apartment where her father had lived, and didn't feel inclined to trace the outline of the number on the wall beside the buzzer as she had thought she might. She could hear the sound of loud music—punk? rap? she wasn't sure—coming from within. She'd been told that a single mother had taken the place and was likely to be evicted because of her unruly", "teenaged son.\n\nShe reached Sylvie's door and stopped. She listened. No sound within. She waited. Pressed the buzzer. Nothing. Then she set to banging on the door, but like she wanted out, not in. The sound of the music ceased in Orin's old apartment and the door was flung open by a sullen boy with purple hair and kohl-lined eyes. \"What?\"\n\n\"Sorry,\" she said. \"I was looking for Sylvie Lafleur. Do you know her?\"\n\n\"Yeah.\"\n", "\n\"Do you know where she is?\"\n\nThe boy shrugged and pulled the door shut. Something feline about his expression reminded Mary of her mother—that catlike smile, wary and remote. Irma had fixed that smile on Jimmy Gooch so many Septembers ago, when he'd announced that he and Mary had decided, given her pregnancy, to be married.\n\nIrma'd asked him directly, \"You've considered the alternatives?\"\n\n\"There are no alternatives,\" Orin had countered, folding his lean arms over his buckled", "chest.\n\nThere had been a vase of glorious pink roses on Dr. Ruttle's desk, which Irma would have considered too feminine a touch for a man's office, if she had been waiting with Mary in the examining room the week before. Mary already suspected that she was pregnant—the cessation of menses, the swollen breasts, the nausea—but when Dr. Ruttle confirmed this, she responded with surprise and confusion. Gooch had, after all, _promised_ that she could not get", "pregnant if he _withdrew before deposit_.\n\nFlushed and sweating in the cool September air, munching the stack of saltines she'd been keeping in her purse to stem her nausea, Mary had walked from Ruttle's office through the old part of town to the high school, where Gooch was taking a special class to make up for the time and grade point average lost to the accident. He was hoping to start university in January. With the choice of institution now independent of its athletic record, he'd promised Mary that he would enroll in W", "indsor, which was under an hour away. Mary'd found a nearby night school offering a course in fashion and design, but she hadn't applied. She was too busy with Gooch and working at the drugstore and keeping house for her parents, and hadn't got around to it.\n\nWading down the high school hallway for the first time since spring graduation, Mary could not conceive of a way to tell Gooch about her pregnancy. She glimpsed her huge boyfriend through the open double doors to the parking lot, leaning against the tan Duster, sh", "aking his head fatally as though he'd already heard the news. She was surprised to see cigarette smoke swirling near his ear, and Sylvie Lafleur beside him, childlike next to the giant teen. Sylvie glanced up to find Mary watching from the shadow of the hallway, waved, then ground the cigarette with the toe of her shoe and started in Mary's direction.\n\n\" _You_ talk to your boyfriend,\" she called on her approach. \"Tell him it's a _crime_ to throw away his future.\" She dropped", "her _h_ 's and _th_ 's and said ' _im_ instead of _him_ , and _trow_ instead of _throw_. \"There are so many options. So many _choices_.\" She sounded, briefly, like a tiny white French Ms. Bolt.\n\nThe future. Although she tried to see the big picture, Mary found her canvas painted over, scene upon scene, not quite right. A bad angle. A poor perspective. A landscape where there should be a portrait. All the pictures vandalized with graffiti, the same dripping red word", ", _Gooch_. \"Pick one, Murray,\" Orin would say, holding a bouquet of assorted lollipops. \"Pick. _One._ \"\n\n\"She's giving me shit because I don't want to go to McGill,\" Gooch explained, after Ms. Lafleur disappeared back into the school. \"She's already worked it out. Which I did _not_ ask her to do.\"\n\n\"Oh.\"\n\n\"I'm not going.\"\n\n\"Okay.\"\n\n\"If I did go, I'd want", "you to come with me.\"\n\n\"Come with you?\"\n\n\"Come with me. Or I'd still see you on weekends.\"\n\n\"McGill is in Montreal. That's seven hours away.\"\n\n\"I can't leave my mother anyway. Not now. This thing with Asswipe isn't gonna last. I can't leave her. With Heather.\"\n\n\"You don't even speak French, Gooch.\"\n\n\"The journalism school is outstanding.\"\n\n_Outstanding._ Such an American word. \"Yeah?\"", "\n\n\"She thinks she can help me get assistance. There's the insurance money from my dad, but she thinks I should save that.\"\n\n\"Okay.\"\n\n\"She thinks I'm a gifted writer.\"\n\n\"She does?\" Mary didn't mean to sound so surprised. She'd never read anything Gooch had written, even though she knew he'd received the highest grades for his efforts. She crumpled into his arms, as sorry for the banal tone of her announcement as she was to give him the news. \"Oh Gooch,\"", "she said, \"I'm pregnant.\"\n\nOn an evening several days later, gathered around a boozy campfire at the lake, Mary and Gooch announced their engagement to their friends. The girls squealed their delight and fawned over Mary, envying the way her cup ranneth over, while the boys—young men, really, old enough to drink legally, vote, go to war—responded with short nods and thumps to Gooch's broad back.\n\nNo one wondered if the pair was getting married because Mary was pregnant.", "They already knew that. And it didn't seem a particularly poor decision to any of them. The greatest tragedy, as the young people saw it, was already behind them. Gooch's fate sealed by the accident. He would not go to an American college on a basketball scholarship. They would never see him play on network TV. He had lost his chance, at the sharpest bend in the river, to be extraordinary. Gooch got drunk that night, his tolerance for alcohol out of step with his tolerance for tragedy, and threw Mary the keys when it was time", "to drive home.\n\nAware that errant recollections of bygone days never brought comfort or deeper understanding, Mary wondered why she seemed incapable of releasing the past. Her rambling mind seemed to have no more restraint than her wanting mouth. Even struggling out the doors of the apartment building on the river, she thought not of where she was but where she used to be. She missed the sound of her father's voice.\n\nIn the white noise of wind Mary heard the ringing of a phone. Pushing down the walkway, she felt the sound like a wh", "ip. Punishing. If she had that cellphone in her purse instead of charging on the counter at home, Gooch would be calling. As he was calling her now, she felt sure. He'd likely left a message at the drugstore. And tried her at the house. She imagined him frantic, calling around to find her, as if _she_ were the one who hadn't come home. \n\n# Reconfigured and Reborn\n\nOutside the apartment building, Mary's attention was caught by the neon lights of the convenience store across the road.", "Tasting the chocolate and nuts embedded in her molars, she badly needed a drink. And something salty if she had to sit in the truck on surveillance, waiting for Sylvie Lafleur to return. She considered the distance and the darkening sky, and the heaviness of her legs and the cut on her foot, wondering if she should drive. Calculating her distance from the truck, she heaved a sigh and started for the road with slow, percussive steps.\n\nTypically, Mary disliked shopping in convenience stores, with their dearth of", "fruits and vegetables or boxes of fiber cereal to conceal the cartful of scrumptious junk foods she would actually eat. And she hated the way the foreign clerks watched her drizzling orange cheese on stale nachos or filling gallon cups with soda or lifting snack bags to the counter, thinking their own sniggering cultural versions of _Lady, you need that like a hole in the head._\n\nEntering the store Mary should have been shocked, but wasn't in the least, to see Sylvie Lafleur at", "the counter, paying for a carton of king-size cigarettes. This meeting of fat wife and slender mistress in an overbright store on a stormy fall day was simply life in Leaford, a town too small for coincidence. Rain slicker tossed carelessly over pajamas, fine hair curled from the damp air, the French woman looked withered as winter. She smiled seeing Mary Gooch standing before her in her navy scrubs, just as she always did when they chanced to meet. \"Mary.\"\n\nMary cleared her thro", "at. \"Hello, Ms. Lafleur.\"\n\n\"I haven't seen you in so long. Are you well?\" Sylvie rasped, though the answer seemed apparent.\n\nGooch sprang to Mary's mind, the way he would answer a person, when they asked how he was with _Livin' the dream. I'm livin' the dream._ People were charmed by his response, and especially amused when he said it within the context of hauling a sofa bed up two flights of stairs. \"Fine. And you?\"\n\n", "Sylvie opened her carton of cigarettes, tearing at the foil with her chipped, stained fingers, laughter resigned. \"I spend all day smoking in my pajamas. Retirement suits me, don't you think?\"\n\nIn her scrutiny of the woman's aging face, Mary could not find a scintilla of guilt. No remorse. No apology. No mea. No culpa. A skinny, amoral _slut_ , she decided.\n\n\"How's Gooch?\" Syl", "vie inquired innocently. And there it was—a twitch in the eyelid. A blink. A shift. A _tell_. Gooch had taught her about tells, those nervous twitches: a scratch, a pucker, a cough, that tip off the liar's bluff. He could always tell a tell, he'd say proudly, which was why he usually won at cards. Watching Sylvie twitch, Mary felt relieved, like a mysteriously ill person upon finally receiving a diagnosis, to know that it wasn't all in her", "mind.\n\nMary admired her own directness, even if it was all she had left. \"Gooch didn't come home last night. I thought you might know where he is.\"\n\nThe older woman squeezed her eyes shut, shrinking one vertebra at a time until Mary felt like the big fat bully to Sylvie's scrawny little kid. \"Let's go outside. Can we go outside so I can smoke?\"\n\nMary briefly enjoyed the thought that the other woman was _dying_ for a cigarette. \"Do you know where he", "is, Ms. Lafleur?\"\n\n\"I don't, Mary. I don't know where is Gooch.\"\n\n\"He didn't go to your place last night?\"\n\nBehind the counter, the Korean man thrust open the hot-dog case. Having served Mary on a number of occasions, he was anxious to get on with the transaction. \"Three? Works?\"\n\nMary shook her head without looking at the man. \"Did he call you?\"\n\nSylvie glanced briefly at the clerk before launching in a whisper. \"You want to do", "this here? Okay. But you must know I haven't seen Gooch in years. _Years._ \"\n\nThat wasn't technically true. They'd run into Sylvie just the prior month at the Kinsmen Corn Roast. And they often met, the three of them, in the hallway, when Gooch came along on her visits to Orin. But Mary knew what Sylvie meant, and was inclined to believe her.\n\n\"And it was one time. Only. You must _know_ this.\"\n\nMary was more mystified by this than she", "'d ever been by the torrid affair she'd always assumed.\n\n\"He used to come, it's true, but that was years ago, and only to sleep it off a little on the sofa. We talked. Let's go outside now,\" she said, soothing her impatient cigarette.\n\n\"You talked?\"\n\n\"Politics. Movies. It's so boring, really.\" There were tears growing in the older woman's eyes, a babyish crinkle in her chin. It was because she wanted a cigarette that"], "context": "", "task": "lrlm", "teacher_scores": [-2.828125, -2.828125, -2.828125, -2.765625, -2.8125, -2.78125, -2.796875, -2.8125, -2.828125, -2.8125, -2.8125, -2.78125, -2.8125, -2.796875, -2.84375, -2.8125, -2.859375, -2.8125, -2.875, -2.90625, -2.90625, -2.875, -2.890625, -2.921875, -2.90625, -2.921875, -2.859375, -2.84375, -2.890625, -2.84375, -2.78125, -2.765625, -2.78125, -2.78125, -2.765625, -2.796875, -2.796875, -2.859375, -2.78125, -2.84375, -2.8125, -2.796875, -2.765625, -2.765625, -2.734375, -2.796875, -2.828125, -2.875, -2.828125, -2.84375, -2.859375, -2.84375, -2.78125, -2.796875, -2.765625, -2.78125, -2.78125, -2.8125, -2.8125, -2.859375, -2.796875, -2.796875, -2.75, -2.75]}
{"query_id": 40174, "query": "her purse, saying:\n\nhe's my man! he's my man!\n\nand then she ran out and\n\njumped into her orange Volks\n\nand drove away.\n\nI came out with a broom\n\nand began sweeping up the glass\n\nwhen I heard a sound\n\nand there was the orange Volks\n\nrunning on the sidewalk\n\nand on me—\n\nI managed to leap up against a wall\n\nas it went by.\n\nthen I took the broom and began sweeping up\n\nthe glass again,\n\n", "answers": ["and suddenly she was standing there;\n\nshe took the broom and broke it into three\n\npieces,\n\nthen she found an unbroken beerbottle\n\nand threw it at the glass window of the door.\n\nit made a clean round hole\n\nand the other woman shouted down from the\n\nstairway: for God's sake, Bukowski, go with\n\nher!\n\nI got into the orange Volks and we\n\ndrove off together.\n\n## pull a string, a puppet moves...\n\neach man must realize\n\n"], "pos": [], "neg": ["\nshe moved out 2 weeks later\n\nan old guy with white hair moved in there\n\nand he had one blind eye and played the French Horn.\n\nthere was no way I could make it with\n\nhim.\n\n## some people\n\nsome people never go crazy.\n\nme, sometimes I'll lie down behind the couch\n\nfor 3 or 4 days.\n\nthey'll find me there.\n\nit's Cherub, they'll say, and\n\nthey pour wine down my throat\n\nrub my chest\n\n", "sprinkle me with oils.\n\nthen, I'll rise with a roar,\n\nrant, rage—\n\ncurse them and the universe\n\nas I send them scattering over the\n\nlawn.\n\nI'll feel much better,\n\nsit down to toast and eggs,\n\nhum a little tune,\n\nsuddenly become as lovable as a\n\npink\n\noverfed whale.\n\nsome people never go crazy.\n\nwhat truly horrible lives\n\nthey must lead.\n\n##", "father, who art in heaven—\n\nmy father was a practical man.\n\nhe had an idea.\n\nyou see, my son, he said,\n\nI can pay for this house in my lifetime,\n\nthen it's mine.\n\nwhen I die I pass it on to you.\n\nnow in your lifetime you can acquire a house\n\nand then you'll have two houses\n\nand you'll pass those two houses on to your\n\nson, and in his lifetime he acquires a house,\n\nthen when he dies, his son—\n\nI", "get it, I said.\n\nmy father died while trying to drink a\n\nglass of water. I buried him.\n\nsolid mahogany casket. after the funeral\n\nI went to the racetrack, met a high yellow.\n\nafter the races we went to her apartment\n\nfor dinner and goodies.\n\nI sold his house after about a month.\n\nI sold his car and his furniture\n\nand gave away all his paintings except one\n\nand all his fruit jars\n\n(filled with fruit boiled in the heat of summer", ")\n\nand put his dog in the pound.\n\nI dated his girlfriend twice\n\nbut getting nowhere\n\nI gave it up.\n\nI gambled and drank away the money.\n\nnow I live in a cheap front court in Hollywood\n\nand take out the garbage to\n\nhold down the rent.\n\nmy father was a practical man.\n\nhe choked on that glass of water\n\nand saved on hospital\n\nbills.\n\n## nerves\n\ntwitching in the sheets—\n\nto face the sunlight again,\n\nthat", "'s clearly\n\ntrouble.\n\nI like the city better when the\n\nneon lights are going and\n\nthe nudies dance on top of the\n\nbar\n\nto the mauling music.\n\nI'm under this sheet\n\nthinking.\n\nmy nerves are hampered by\n\nhistory—\n\nthe most memorable concern of mankind\n\nis the guts it takes to\n\nface the sunlight again.\n\nlove begins at the meeting of two\n\nstrangers. love for the world is\n\nimpossible. I'", "d rather stay in bed\n\nand sleep.\n\ndizzied by the days and the streets and the years\n\nI pull the sheets to my neck.\n\nI turn my ass to the wall.\n\nI hate the mornings more than\n\nany man.\n\n## the rent's high too\n\nthere are beasts in the salt shaker\n\nand airdromes in the coffeepot.\n\nmy mother's hand is in the bag drawer\n\nand from the backs of spoons come\n\nthe cries of tiny tortured animals.", "\n\nin the closet stands a murdered man\n\nwearing a new green necktie\n\nand under the floor,\n\nthere's a suffocating angel with flaring nostrils.\n\nit's hard to live here.\n\nit's very hard to live here.\n\nat night the shadows are unborn creatures.\n\nbeneath the bed\n\nspiders kill tiny white ideas.\n\nthe nights are bad\n\nthe nights are very bad\n\nI drink myself to sleep\n\nI have to drink myself to sleep.", "\n\nin the morning\n\nover breakfast\n\nI see them roll the dead down the street\n\n(I never read about this in the newspapers).\n\nand there are eagles everywhere\n\nsitting on the roof, on the lawn, inside my car.\n\nthe eagles are eyeless and smell of sulphur.\n\nit is very discouraging.\n\npeople visit me\n\nsit in chairs across from me\n\nand I see them crawling with vermin—\n\ngreen and gold and yellow bugs\n\nthey do not br", "ush away.\n\nI have been living here too long.\n\nsoon I must go to Omaha.\n\nthey say that everything is jade there\n\nand does not move.\n\nthey say you can stitch designs in the water\n\nand sleep high in olive trees.\n\nI wonder if this is\n\ntrue?\n\nI can't live here much longer.\n\n## laugh literary\n\nlisten, man, don't tell me about the poems you\n\nsent, we didn't receive them,\n\nwe are very careful with manuscripts\n", "\nwe bake them\n\nburn them\n\nlaugh at them\n\nvomit on them\n\npour beer over them\n\nbut generally we return\n\nthem\n\nthey are\n\nso\n\ninane.\n\nah, we believe in Art,\n\nwe need it\n\nsurely,\n\nbut, you know, there are many people\n\n(most people)\n\nplaying and fornicating with the\n\nArts\n\nwho only crowd the stage\n\nwith their generous unforgiving\n\nvigorous\n\nmediocr", "ity.\n\nour subscription rates are $4 a year.\n\nplease read our magazine before\n\nsubmitting.\n\n## deathbed blues\n\nif you can't stand the heat, he says, get out of the\n\nkitchen. you know who said that?\n\nHarry Truman.\n\nI'm not in the kitchen, I say, I'm in the\n\noven.\n\nmy editor is a difficult man.\n\nI sometimes phone him in moments of doubt.\n\nlook, he answers, you'll be lighting cigars with", "ten dollar\n\nbills, you'll have a redhead on one arm and a blonde\n\non the other.\n\nother times he'll say, look, I think I'm going to hire\n\nV.K. as my associate editor. we've got to prune off\n\n5 poets here somewhere. I'm going to leave it up\n\nto him. (V.K. is a very imaginative poet who believes I've\n\nknifed him from N.Y.C. to the shores of Hawaii.)\n", "\nlook, kid, I phone my editor, can you speak German?\n\nno, he says.\n\nwell, anyhow, I say, I need some good new tires, cheap.\n\nso you know where I can get some good new tires, cheap?\n\nI'll phone you in 30 minutes, he says, will you be in\n\nin 30 minutes?\n\nI can't afford to go anywhere, I say.\n\nhe says, they say you were drunk at that reading\n\nin Oregon.\n\nugly gossips", ", I answer.\n\nwere you?\n\nI don't\n\nremember.\n\none day he phones me:\n\nyou're not hitting the ball anymore. you are hitting the\n\nbottle and fighting with all these\n\nwomen. you know we got a good kid on the bench,\n\nhe's aching to get in there\n\nhe hits from both sides of the plate\n\nhe can catch anything that ain't hit over the wall\n\nhe's coached by Duncan, Creeley, Wakoski\n\n", "and he can rhyme, he knows\n\nimages, similes, metaphors, figures, conceits,\n\nassonance, alliteration, metrics, yes\n\nmetrics like, you know—\n\niambic, trochaic, anapestic, spondaic,\n\nhe knows caesura, denotation, connotation, personification,\n\ndiction, voice, paradox, rhetoric, tone and\n\ncoalescence...\n\nholy shit, I say, hang up and take a good hit of\n\nOld Grand", "ad. Harry's still alive\n\naccording to the papers. but I decide rather than\n\ngetting new tires to get\n\na set of retreads instead.\n\n## charles\n\n92 years old\n\nhis tooth has been bothering him\n\nhad to get it filled\n\nhe lost his left eye 40 years\n\nago\n\n—a butcher, he says, he just wanted to\n\noperate to get the money. I found out\n\nlater it coulda been\n\nsaved.\n\n—I take the eye out at night", ", he says,\n\nit hurts. they never did get it right.\n\n—which eye is it, Charles?\n\n—this one here, he points,\n\nthen excuses himself. he has to get up and\n\ngo into the\n\nkitchen, he's baking cookies in the oven.\n\nhe comes out soon with a\n\nplate.\n\n—try some.\n\nI do. they're\n\ngood.\n\n—want some coffee? he asks.\n\n—no, thanks, Charles, I haven't been sleeping", "\n\nnights.\n\nhe got married at 70 to a woman\n\n58. 22 years ago. she's in a rest home now.\n\n—she's getting better, he says, she recognizes me.\n\nthey let her get up to go to the bathroom.\n\n—that's fine, Charles.\n\n—I can't stand her damned daughter, though, they think\n\nI'm after her money.\n\n—is there anything I can do for you, Charles? need\n\nanything from the store, anything", "like\n\nthat?\n\n—no, I just went shopping this morning.\n\nhis back is as straight as the wall and he has the\n\ntiniest pot\n\nbelly. as he talks he\n\nkeeps his one eye on the tv set.\n\n—I'm going now, Charles, you got my phone number?\n\n—yeh.\n\n—how are the girls treating you, Charles?\n\n—my friend, I haven't thought about girls for some\n\nyears now.\n\n—goodnight, Charles.\n\n—", "goodnight.\n\nI go to the door\n\nopen it\n\nclose it\n\noutside\n\nthe smell of freshly-baked cookies\n\nfollows me.\n\n## on the circuit\n\nit was up in San Francisco\n\nafter my poetry reading.\n\nit had been a nice crowd\n\nI had gotten my money\n\nI had this place upstairs\n\nthere was some drinking\n\nand this guy started beating up on a fag\n\nI tried to stop him\n\nand the guy broke a window\n\ndeliber", "ately.\n\nI told them all to\n\nget out\n\nand she started hollering down to the guy\n\nwho had beat on the fag\n\nand he kept calling her name back up\n\nand then I remembered she had vanished for an hour\n\nbefore the reading.\n\nshe did those things.\n\nmaybe not bad things\n\nbut consistently careless things\n\nand I told her we were through\n\nand to get out\n\nand I went to bed\n\nthen hours later she walked in\n\nand I said, what the hell are you doing here", "?\n\nshe was all wild, hair down in her face,\n\nyou're too callous, I said, I don't want you.\n\nit was dark and she leaped at me:\n\nI'll kill you, I'll kill you!\n\nI was still too drunk to defend myself\n\nand she had me down on the kitchen floor\n\nand she clawed my face and\n\nbit a hole in my arm.\n\nthen I went back to bed and listened to her heels\n\ngoing down the hill.\n\n## my friend, andre", "\n\nthis kid used to teach at Kansas U.\n\nthen they moved him out\n\nhe went to a bean factory\n\nthen he and his wife moved to the coast\n\nshe got a job and worked while\n\nhe looked for a job as an actor.\n\nI really want to be an actor, he told me,\n\nthat's all I want to be.\n\nhe came by with his wife.\n\nhe came by alone.\n\nthe streets around here are full of guys who\n\nwant to be actors.\n\nI saw him yesterday.\n\nhe was", "rolling cigarettes.\n\nI poured him some white wine.\n\nmy wife is getting tired of waiting, he said,\n\nI'm going to teach karate.\n\nhis hands were swollen from hitting\n\nbricks and walls and doors.\n\nhe told me about some of the great oriental\n\nfighters. there was one guy so good\n\nhe could turn his head 180 degrees\n\nto see who was behind him. that's very hard to do,\n\nhe said.\n\nfurther: it's more difficult", "to fight 4 men properly placed\n\nthan to fight many more. when you have many more\n\nthey get in each other's way, and a good fighter who has\n\nstrength and agility can do well.\n\nsome of the great fighters, he said,\n\neven suck their balls up into their bodies.\n\nthis can be done—to some extent—because there are\n\nnatural cavities in the body.... if you stand upsidedown\n\nyou will notice this.\n\nI gave him a little more white wine,\n\nthen he left.\n", "\nyou know, sometimes making it with a typewriter\n\nisn't so painful\n\nafter all.\n\n## i was glad\n\nI was glad I had money in the Savings and Loan\n\nFriday afternoon hungover\n\nI didn't have a job\n\nI was glad I had money in the Savings and Loan\n\nI didn't know how to play a guitar\n\nFriday afternoon hungover\n\nFriday afternoon hungover\n\nacross the street from Norm's\n\nacross the street from The Red Fez\n", "\nI was glad I had money in the Savings and Loan\n\nsplit with my girlfriend and blue and demented\n\nI was glad to have my passbook and stand in line\n\nI watched the buses run up Vermont\n\nI was too crazy to get a job as a driver of buses\n\nand I didn't even look at the young girls\n\nI got dizzy standing in line but I\n\njust kept thinking I have money in this building\n\nFriday afternoon hungover\n\nI didn't know how to play the piano\n\nor", "even hustle a damnfool job in a carwash\n\nI was glad I had money in the Savings and Loan\n\nfinally I was at the window\n\nit was my Japanese girl\n\nshe smiled at me as if I were some amazing god\n\nback again, eh? she said and laughed\n\nas I showed her my withdrawal slip and my passbook\n\nas the buses ran up and down Vermont\n\nthe camels trotted across the Sahara\n\nshe gave me the money and I took the money\n\nFriday", "afternoon hungover\n\nI walked into the market and got a cart\n\nand I threw sausages and eggs and bacon and bread in there\n\nI threw beer and salami and relish and pickles and mustard in there\n\nI looked at the young housewives wiggling casually\n\nI threw t-bone steaks and porterhouse and cube steaks in my cart\n\nand tomatoes and cucumbers and oranges in my cart\n\nFriday afternoon hungover\n\nsplit with my girlfriend and blue and demented\n\nI was glad", "I had money in the Savings and Loan.\n\n## trouble with spain\n\nI got in the shower\n\nand burned my balls\n\nlast Wednesday.\n\nmet this painter called Spain,\n\nno, he was a cartoonist,\n\nwell, I met him at a party\n\nand everybody got mad at me\n\nbecause I didn't know who he was\n\nor what he did.\n\nhe was rather a handsome guy\n\nand I guess he was jealous because\n\nI was so ugly.\n\nthey told me his", "name\n\nand he was leaning against the wall\n\nlooking handsome, and I said:\n\nhey, Spain, I like that name: Spain.\n\nbut I don't like you. why don't we step out\n\nin the garden and I'll kick the shit out of your\n\nass?\n\nthis made the hostess angry\n\nand she walked over and rubbed his pecker\n\nwhile I went to the crapper\n\nand heaved.\n\nbut everybody's angry at me.\n\nBukowski, he can't write", ", he's had it.\n\nwashed-up. look at him drink.\n\nhe never used to come to parties.\n\nnow he comes to parties and drinks everything\n\nup and insults real talent.\n\nI used to admire him when he cut his wrists\n\nand when he tried to kill himself with\n\ngas. look at him now leering at that 19 year old\n\ngirl, and you know he\n\ncan't get it up.\n\nI not only burnt my balls in that shower\n\nlast Wednes", "day, I spun around to get out of the burning\n\nwater and burnt my bunghole\n\ntoo.\n\n## wet night\n\nthe rag.\n\nshe sat there, glooming.\n\nI couldn't do anything with her.\n\nit was raining.\n\nshe got up and left.\n\nwell, hell, here it is again, I thought\n\nI picked up my drink and turned the radio up,\n\ntook the lampshade off the lamp\n\nand smoked a cheap black bitter cigar\n\nimported from Germany.", "\n\nthere was a knock on the door\n\nand I opened the door\n\na little man stood in the rain\n\nand he said,\n\nhave you seen a pigeon on your porch?\n\nI told him I hadn't seen a pigeon on my porch\n\nand he said if I saw a pigeon on my porch\n\nto let him know.\n\nI closed the door\n\nsat down\n\nand then a black cat leaped through the\n\nwindow and jumped on my\n\nlap and purred, it was a beautiful animal", "\n\nand I took it into the kitchen and we both ate a\n\nslice of ham.\n\nthen I turned off all the lights\n\nand went to bed\n\nand that black cat went to bed with me\n\nand it purred\n\nand I thought, well, somebody likes me,\n\nthen the cat started pissing,\n\nit pissed all over me and all over the sheets,\n\nthe piss rolled across my belly and slid down my sides\n\nand I said: hey, what's wrong with you?\n\nI picked up", "the cat and walked him to the door\n\nand threw him out into the rain\n\nand I thought, that's very strange, that cat\n\npissing on me\n\nhis piss was cold as the rain.\n\nthen I phoned her\n\nand I said, look, what's wrong with you? have you lost\n\nyour god damned mind?\n\nI hung up and pulled the sheets off the bed\n\nand got in and lay there listening to the rain.\n\nsometimes a man doesn't know what to do about things\n\nand sometimes it'", "s best to lie very still\n\nand try not to think at all\n\nabout anything.\n\nthat cat belonged to somebody\n\nit had a flea collar.\n\nI don't know about the\n\nwoman.\n\n## we, the artists—\n\nin San Francisco the landlady, 80, helped me drag the green\n\nVictrola up the stairway and I played Beethoven's 5th\n\nuntil they beat on the walls.\n\nthere was a large bucket in the center of the room\n\nfilled with beer and", "winebottles;\n\nso, it might have been the d.t.'s, one afternoon\n\nI heard a sound something like a bell\n\nonly the bell was humming instead of ringing,\n\nand then a golden light appeared in the corner of the room\n\nup near the ceiling\n\nand through the sound and light\n\nshone the face of a woman, worn but beautiful,\n\nand she looked down at me\n\nand then a man's face appeared by hers,\n\nthe light became stronger and the man said:\n\nwe, the artists, are", "proud of you!\n\nthen the woman said: the poor boy is frightened,\n\nand I was, and then it went away.\n\nI got up, dressed, and went to the bar\n\nwondering who the artists were and why they should be\n\nproud of me. there were some live ones in the bar\n\nand I got some free drinks, set my pants on fire with the\n\nashes from my corncob pipe, broke a glass deliberately,\n\nwas not rousted, met a man who claimed he was William\n\nSaroyan,", "and we drank until a woman came in and\n\npulled him out by the ear and I thought, no, that can't be\n\nWilliam, and another guy came in and said: man, you talk\n\ntough, well, listen, I just got out for assault and\n\nbattery, so don't mess with me! we went outside the\n\nbar, he was a good boy, he knew how to duke, and it went\n\nalong fairly even, then they stopped it and we went\n\nback in and drank another couple of hours", ". I walked\n\nback up to my place, put on Beethoven's 5th and\n\nwhen they beat on the walls I beat\n\nback.\n\nI keep thinking of myself young, then, the way I was,\n\nand I can hardly believe it but I don't mind it.\n\nI hope the artists are still proud of me\n\nbut they never came back\n\nagain.\n\nthe war came running in and next I knew\n\nI was in New Orleans\n\nwalking into a bar drunk\n\nafter falling down in the mud on a", "rainy night.\n\nI saw one man stab another and I walked over and\n\nput a nickle in the juke box.\n\nit was a beginning. San\n\nFrancisco and New Orleans were two of my\n\nfavorite towns.\n\n## i can't stay in the same room with that woman for five minutes\n\nI went over the other day\n\nto pick up my daughter.\n\nher mother came out with workman's\n\noveralls on.\n\nI gave her the child support money\n\nand she laid a sheaf of poems", "on me by one\n\nManfred Anderson.\n\nI read them.\n\nhe's great, she said.\n\ndoes he send this shit out? I asked.\n\noh no, she said, Manfred wouldn't do that.\n\nwhy?\n\nwell, I don't know exactly.\n\nlisten, I said, you know all the poets who\n\ndon't send their shit out.\n\nthe magazines aren't ready for them, she said,\n\nthey're too far advanced for publication.\n\noh for christ'", "s sake, I said, do you really\n\nbelieve that?\n\nyes, yes, I really believe that, she\n\nanswered.\n\nlook, I said, you don't even have the kid ready\n\nyet. she doesn't have her shoes on. can't you\n\nput her shoes on?\n\nyour daughter is 8 years old, she said,\n\nshe can put her own shoes on.\n\nlisten, I said to my daughter, for christ's sake\n\nwill you put your shoes on?\n\nManfred", "never screams, said her mother.\n\nOH HOLY JESUS CHRIST! I yelled\n\nyou see, you see? she said, you haven't changed.\n\nwhat time is it? I asked.\n\n4:30. Manfred did submit some poems once, she said,\n\nbut they sent them back and he was terribly\n\nupset.\n\nyou've got your shoes on, I said to my daughter,\n\nlet's go.\n\nher mother walked to the door with us.\n\nhave a", "nice day, she said.\n\nfuck off, I said.\n\nwhen she closed the door there was a sign pasted to\n\nthe outside. it said:\n\nSMILE.\n\nI didn't.\n\nwe drove down Pico on the way in.\n\nI stopped outside the Red Ox.\n\nI'll be right back, I told my daughter.\n\nI walked in, sat down, and ordered a scotch and\n\nwater. over the bar there was a little guy popping in and\n\nout of a door holding a very red", ", curved penis\n\nin his hand.\n\ncan't\n\ncan't you make him stop? I asked the barkeep.\n\ncan't you shut that thing off?\n\nwhat's the matter with you, buddy? he asked.\n\nI submit my poems to the magazines, I said.\n\nyou submit your poems to the magazines? he asked.\n\nyou are god damned right I do, I said.\n\nI finished my drink and got back to the car.\n\nI drove down Pico Boulevard", ".\n\nthe remainder of the day was bound to be better.\n\n## charisma\n\nthis woman keeps phoning me\n\neven though I tell her I am living with a woman\n\nI love.\n\nI keep hearing noises in the environment,\n\nshe phones,\n\nI thought it was you.\n\nme? I haven't been drunk for several\n\ndays.\n\nwell, maybe it wasn't you but I felt it was\n\nsomebody who was trying to help\n\nme.\n\nmaybe it was God. do you think He'", "s there?\n\nyes, He's a hook from the ceiling.\n\nI thought so.\n\nI'm growing tomatoes in my basement,\n\nshe says.\n\nthat's sensible.\n\nI want to move, where shall I move?\n\nnorth is obvious, west is the ocean. the east is the\n\npast. south is the only way.\n\nsouth?\n\nyes, but not past the border. it's death to\n\ngringos.\n\nwhat's Salinas like? she asks.\n\nif", "you like lettuce\n\ngo to Salinas.\n\nsuddenly she hangs up. she always does that. and she\n\nalways phones back in a day or a week or a\n\nmonth. she'll be at my funeral with tomatoes and the\n\nyellow pages of the phonebook stuck into the pockets of\n\nher mince-brown overcoat in 97 degree heat,\n\nI have a way with the ladies.\n\n## the sound of human lives\n\nstrange warmth, hot and cold females,\n\nI make good love", ", but love isn't just\n\nsex. most females I've known are\n\nambitious, and I like to lie around\n\non large comfortable pillows at 3 o'clock\n\nin the afternoon, I like to watch the sun\n\nthrough the leaves of a bush outside\n\nwhile the world out there\n\nholds away from me, I know it so well, all\n\nthose dirty pages, and I like to lie around\n\nmy belly up to the ceiling after making love\n\neverything flowing in:\n\nit's so easy to be", "easy—if you let it, that's all\n\nthat's necessary.\n\nbut the female is strange, she is very\n\nambitious—shit! I can't sleep away the day!\n\nall we do is eat! make love! sleep! eat! make love!\n\nmy dear, I say, there are men out there now\n\npicking tomatoes, lettuce, even cotton,\n\nthere are men and women dying under the sun,\n\nthere are men and women dying in factories\n\nfor nothing, a pittance...\n\nI", "can hear the sound of human lives being ripped to\n\npieces...\n\nyou don't know how lucky we\n\nare...\n\nbut you've got it made, she says,\n\nyour poems...\n\nmy love gets out of bed.\n\nI hear her in the other room.\n\nthe typewriter is working.\n\nI don't know why people think effort and energy\n\nhave anything to do with\n\ncreation.\n\nI suppose that in matters like politics, medicine,\n\nhistory and religion\n\nthey are mistaken\n\nalso.", "\n\nI turn on my belly and fall asleep with my\n\nass to the ceiling for a change.\n\n## save the pier\n\nyou shoulda been at this party,\n\nI know you hate parties\n\nbut you seem to be at most of them.\n\nanyhow, I took my girl, you know\n\nher—\n\nJava Jane?\n\nyes, this party was at the merry-go-round\n\nwhere they are trying to tear the pier down, you\n\nknow where that is?\n\nyes, the red paint, the broken\n", "\nwindows—\n\nyes, anyhow, my girl lives in a room just above the\n\nmerry-go-round. it's a\n\nbirthday party for the woman who owns the\n\nmerrry-go-round.\n\nshe's trying to save the pier\n\nshe's trying to save the merry-go-round—\n\nplenty of drinks for everybody, my girl lives in the\n\nroom right above the\n\nmerry-go-round.\n\nsounds great.\n\nI phoned. you weren't", "\n\nin.\n\nit's all right.\n\nwell, there was plenty to drink and they turned the\n\nmerry-go-round on, it was free, music and\n\neverything.\n\nsounds great.\n\nmy girlfriend and I got into an\n\nargument, all the drinking—\n\nof course.\n\nI'm standing apart from her\n\nshe's standing apart from me.\n\nshe's got a glass of wine in her hand.\n\nI give her a dark green deathly stare,\n\nshe's str", "icken\n\nshe steps back\n\nthe thing is whirling\n\na horse's hoof kicks her in the ass.\n\nshe drops down upon the spinning.\n\nit all happens so fast—\n\nbut I do notice\n\nthat all the time she's circling\n\nto the music under those horses\n\nshe's holding her glass upright\n\nin order not to spill a\n\ndrop.\n\nbrave.\n\nsure. only all the time her panties are\n\nshowing. glowing and glistening.", "\n\npink.\n\nwonderful. how do they do it?\n\nthey conspire.\n\nthe glistening pink?\n\nyes. so her panties are showing and I think\n\nwell, that's all right but it probably looks\n\na hell of a lot better to them than it does to\n\nme, so I moved a step forward and said,\n\nJane.\n\nwhat happened?\n\nshe kept spinning around holding her drink up\n\nshowing her pink bottom...there seemed something\n\ntenuous about it, delici", "ously inane...\n\nstunted glory finally comes forth hollering...\n\nexactly. she kept gliding around\n\nlegs outspread—\n\ndizzied with life—\n\nvengeful—\n\nshe must have cared for me to show her\n\npanties to all those\n\npeople. anyhow, she kept sliding around\n\nuntil her leg hit one of this guy's legs—\n\nhe'd stepped forward for a closer look.\n\nhe was 67 years old and with his wife\n\nand they were both\n\n", "eating spaghetti off paper plates, anyhow,\n\nmy girl's leg hit his\n\nshe came bouncing off on her ass\n\nstill holding the glass of wine upright.\n\nI walked over and picked her up\n\nand she still held it\n\nlevel, then she lifted it and\n\ndrank it.\n\nsounds like it was a\n\nfine party.\n\nI phoned. you weren't\n\nin.\n\nspiderwebs of dripping\n\nwet-dew sex like\n\nbadbre", "ath dreams.\n\nexactly. you should have been\n\nthere.\n\nsorry.\n\n## burned\n\nthe kid went back to New York City to live with a woman\n\nhe met in a kibbutz.\n\nhe left his mother at the age of\n\n32, a well-kept fellow, sense of humor and never\n\nwore the same pair of shorts\n\nmore than one day. there he was\n\nin the Puerto Rican section, she had a\n\njob. he wanted iron bars on the windows and\n\nate too", "much fried chicken at 10 a.m.\n\nin the morning after she went to\n\nwork. he had some money saved out of the\n\nyears and he fucked but he was really\n\nafraid of\n\npussy.\n\nI was sitting with Eileen in Hollywood\n\nand I said:\n\nI ought to warn the kid\n\nso that when she turns on him\n\nhe'll be\n\nready.\n\nno, she said, let him be happy.\n\nI let him be\n\nhappy.\n\nnow", "he's back living with his\n\nmother, he weighs three hundred and ten pounds\n\nand eats all the time\n\nand laughs all the time\n\nbut you ought to see his\n\neyes...\n\nthe eyes are sitting in the center of all that\n\nflesh...\n\nhe bites into a chicken leg:\n\nI loved her, he says to me,\n\nI loved her.\n\n## hell hath no fury...\n\nshe was in her orange Volks waiting\n\nas I walked up the street\n\nwith 2 six pack"], "context": "", "task": "lrlm", "teacher_scores": [-2.390625, -2.359375, -2.421875, -2.421875, -2.359375, -2.375, -2.390625, -2.578125, -2.40625, -2.375, -2.375, -2.375, -2.453125, -2.359375, -2.421875, -2.390625, -2.453125, -2.515625, -2.5, -2.40625, -2.46875, -2.4375, -2.421875, -2.53125, -2.453125, -2.359375, -2.453125, -2.515625, -2.484375, -2.4375, -2.421875, -2.453125, -2.40625, -2.421875, -2.46875, -2.46875, -2.359375, -2.390625, -2.453125, -2.453125, -2.453125, -2.296875, -2.328125, -2.46875, -2.4375, -2.46875, -2.40625, -2.28125, -2.34375, -2.265625, -2.28125, -2.390625, -2.390625, -2.40625, -2.4375, -2.546875, -2.5625, -2.5625, -2.4375, -2.484375, -2.453125, -2.421875, -2.296875, -2.109375]}
{"query_id": 23013, "query": "itute a collective psychic release—a sense of youth, heightened expectations, freedom from constraints of all kinds—in the Argonaut generation of young men, and the smaller number of women, who came to El Dorado in search of the Golden Fleece. Yet life in Gold Rush California could also be nasty, brutish, and short. One out of every twelve forty-niners would lose his (or her) life en route to, in, or returning from the mines. Accidents were frequent. Cholera and other fatal diseases posed a constant threat. (An outbreak", "answers": ["of cholera decimated Sacramento in 1850.) There was the ever-present temptation to drink too much, or to gamble away one's hard-won earnings or, if given the opportunity, to squander them on prostitution. Disputes regarding claims or any form of theft (a particular threat in a society in which miners were forced to leave their gear unprotected for most of the day) frequently led to violence; and because each man went armed and was willing to use his knife or pistol, brawls, stabbings, mayhe"], "pos": [], "neg": ["would in one way or another have become American. At the very time that war broke out, the Californios were negotiating with the United States regarding the possibilities of a peaceful annexation. From this perspective, Josiah Royce, writing in 1886, considered the forcible conquest of California as the original sin of American California history. What was taken by force, Royce argued, had been on the verge of being peaceably surrendered.\n\nIn its extravagant cast of characters, its mad dashes through the countryside by regular and irregular troops", ", its bloody clashes of cavalry, and its overall mood of secret diplomacy, high stakes, and dramatic action, the Conquest of California—as the seizure of California during the Mexican War is commonly called—survives in retrospect as an opera scenario worthy of Hector Berlioz. The scenario included the quasi-Napoleonic posturing of John Charles Frémont, one of the great adventurers of mid-nineteenth-century America; the rebellion of American locals, including the declaration of the California Republic; the presence of the", "American navy, including the maneuvers of marines and naval infantry; a massacre of Indians; two instances of cold-blooded execution; two notable military engagements; a treaty; a quarrel over the governorship; and a court-martial.\n\nThe story of the conquest of California begins with John Charles Frémont, a flamboyant, reckless army captain, the son-in-law of Senator Thomas Hart Benton, the high priest of Manifest Destiny. Of French descent, handsome and dashing, Frémont had by 1845", "led two exploring expeditions into the Far West. Upon his return, his wife, Jesse Benton Frémont, in many ways the driving force behind her husband's career—a woman of great beauty and trilingual education with the Mesdames of the Sacred Heart in St. Louis—had written from his notes _Report of_ _the Exploring Expedition to Oregon and North California_ (1845), a masterly narrative that had helped create the mood of continental expansion coming to a climax in 1846. No sooner had the report appeared than", "Frémont was moving westward at the head of a still larger army expedition—sixty men, with Kit Carson serving as chief of scouts—which Senator Benton had helped persuade the secretary of war to finance.\n\nFrémont, however, had more than scientific exploration on his mind as he approached Monterey in January 1846. Already he had overcome the stigma of his illegitimacy to win an army commission, marry into the highest of political circles, and— through his wife's reworking of his notes and journals—position himself as the", "Pathfinder of Manifest Destiny. Now he would play the role of Bonaparte as well. Like everyone else, Frémont knew that California was ripe for seizure. Its conquest, in fact, held dazzling possibilities for the young captain of topographical engineers: the governorship of the newly acquired province, followed by a national career in politics, perhaps even the presidency. At the time of Frémont's approach to Monterey, the capital of California—as the result of the perennial north-south conflict in Mexican California—had been moved to Los Angeles", ", with Governor Pío Pico serving there and José Castro, based in Monterey, serving as comandante in the north. As might be expected, Castro was incensed that an armed force of American troops and mountain men should be so boldly sojourning at Sutter's Fort, then riding toward Monterey.\n\nCamped outside Monterey, Frémont held conversations with consul and confidential agent Thomas Oliver Larkin, thereby adding to the melodrama of the occasion. Larkin had, after all, been in touch with most of the leading rancher", "os about the possibility of taking California out of Mexico and into the United States. Not only was Comandante Castro affronted by the presence of American troops in California, he also had to worry that something larger was afoot, which might very well involve yet another local insurrection, this time in favor of the United States. Quite naturally, Castro in no uncertain terms ordered Frémont out of California. Rather than leave, Frémont took his men to the top of the nearby Gavilán Peak, set up a hasty barricade, and raised the American flag. In one sense,", "it was pure theater; but then again, given the growing tensions between Mexico and the United States, it was theater with a purpose. Six months before the American navy arrived, Frémont was signaling American intentions.\n\nLate on the night of March 9–10, 1846, Frémont struck camp and moved his men north to Oregon. There, on the shores of Klamath Lake, the plot thickened—indeed, it assumed an aura of permanent ambiguity; for there Frémont met on May 8, 184", "6, with Marine Lieutenant Archibald Gillespie, who had arrived in California in the guise of a traveling merchant bearing confidential dispatches from President James Polk and Secretary of State James Buchanan for Thomas Oliver Larkin. Gillespie had been ferried from Hawaii to California on the American navy ship _Cyane_ and, once his meeting with Larkin was accomplished, had pursued Frémont north to Oregon. For the rest of his life—and in the legend that lasted well beyond his death in 1890—Frémont suggested that Gillespie", "had brought him confidential messages that, in effect, ordered him to seize California. Most scholars have disputed such a claim; yet Josiah Royce would see in Frémont's suggestion and subsequent actions the original sin of California history.\n\nIn one sense, the point was moot, for the United States had already declared war on Mexico, on May 13, 1846; but this would not be known in California for some months to come. In the meanwhile, Frémont returned from Oregon in late May, and his reappearance in California—riding at", "the head of a mounted column in Napoleonic splendor, protected by a colorful bodyguard of Delaware Indians—incited a group of American settlers in and around Sonoma to rise up, imprison General Vallejo (while liberating his wine cellar), and declare the California Republic, for which they fashioned a star-and-grizzly-bear-emblazoned flag that, with some modifications, became the official flag of the state in 1911. The United States Navy, meanwhile, under the command of an aged and ailing Commodore John Drake Sloat", ", had arrived off the coast in full force. Hearing of the Bear Flag revolt and of hostilities between Americans and Mexicans in Texas, Sloat decided to act, although he as yet had no official notice that a state of war existed between Mexico and the United States. In any event, Sloat sent his marines and sailors ashore and raised the American flag at Monterey on July 7, 1846, and at San Francisco five days later. Frémont, meanwhile, assumed personal control of the Bear Flaggers, who pledged their allegiance to the United States", ", then dashed with a small party to the shores of the Golden Gate (which he had named in his 1845 _Report_ ) to spike the ancient cannons guarding the harbor.\n\nOn July 23, 1846, Sloat relinquished command to Commodore Robert Field Stockton, a decisive figure and—handsome, independently wealthy, socially connected, ambitious for fame—equally as flamboyant as Frémont. Taking charge of the conquest, Stockton authorized Frémont to serve as", "brevet major of the newly established California Battalion of Mounted Rifle-men, with Marine lieutenant Gillespie, promoted to brevet captain, serving as second in command and Kit Carson joining as chief of scouts. An amalgamation of Frémont's army troops, mountain men, the praetorian guard of Delaware Indians, and a contingent of Bear Flaggers, the battalion moved south to Monterey, as colorful as any column of condottieri from the Italian Renaissance. Whatever violence it wrought—the slaughter of a Maidu Indian village", ", the cold-blooded shooting of the two sons of Francisco de Haro and their uncle José Berryessa—can be directly traced to Kit Carson, whose bloodthirstiness matched Frémont's bravura.\n\nAt Monterey, Frémont's battalion of regulars and volunteers was loaded aboard naval ships for transport to San Diego, where it was re-horsed and re-provisioned for the conquest of the south. By August 13, 1846, the pueblo of Los Angeles, the largest settlement in Upper California", ", was under American rule, with Captain Gillespie in charge of the city and Governor Pío Pico fleeing in the general direction of Mexico. At this point, the conquest of California seemed complete. Gillespie's harsh administration of Los Angeles, however, precipitated an insurrection that seemed for a time capable of reversing the tide, at least in the south. Gillespie was forced to flee the city, and a detachment of marines was turned back by the Californios when it tried to retake the pueblo. Even worse, a column of 12", "1 dragoons, riding as the Army of the West under the command of Brigadier General Stephen Watts Kearny, entered California from the southeast along the Santa Fe and Old Spanish trails and was decisively defeated on December 6, 1846, in San Diego County in the Battle of San Pasqual. Charging a force of mounted Californios under the command of Andrés Pico, brother of the governor, the dragoons broke formation in pursuit of a group of Californios who had rushed them and then pretended to flee", ". The Californio ruse worked. When the American dragoons broke formation, the Californios wheeled around and penetrated the scattered American column. In the fierce hand-to-hand fighting that followed, twenty-three American dragoons lost their lives to deft thrusts from the twenty-foot willow lances the Californios wielded with deadly skill. It took, finally, a concerted invasion of the Los Angeles plain by a large and well-organized force of army dragoons, marines, and sailors acting as infantry, together", "with segments of Frémont's mounted battalion and a unit of horse-drawn artillery, to retake Los Angeles on January 10, 1847, at the Battle of La Mesa. Three days later, the Californios surrendered to Frémont, believing him to be the most sympathetic of the American commanders. They met Frémont under an oak tree in the hills outside the city in a surrender ceremony subsequently known as the Capitulation of Cahuenga.\n\nBy then a brevet lieutenant colonel, Frémont believed himself to", "be the legitimate governor of California, named as such by Commodore Stockton before Stockton's departure for the East. General Kearny, however, believed himself to be the legitimate governor by virtue of his superior rank and specific dispatches from Washington. Fearing the wrath of Frémont's battalion, Kearny bided his time until the arrival of a clearly appointed military governor, Army colonel Richard Mason, voided Frémont's claim. Frémont was ordered to return to Washington in the van of Kearny's column, under arrest on charges of mut", "iny. In Washington, a court-martial found Frémont guilty, but President Polk—grateful that all had ended well—granted Frémont a full pardon; yet the aggrieved Pathfinder resigned from the Army, wrote yet another memoir with the help of his wife, and mounted a private expedition into the West in search of a railroad route, before returning to California to go into the mining business and pick up the threads of a political career.\n\nAfter more than three hundred years of exploration, shipwreck, expedition, settlement, evangelization, political strife", ", trade, and reconnaissance, the destiny of Alta California had become clear. It would be an American province. The United States now extended from sea to shining sea. Just exactly how California should be politically organized in its new identity, however, remained an open question.\n4\n\nSTRIKING IT RICH\n\n _The Establishment of an American State_\n\n _Colton Hall, Monterey, shortly after the First Constitutional Convention_ CALIFORNIA STATE LIBRARY\n\nOn February 2, 1848, the", "United States and Mexico signed the Treaty of Guadalupe Hidalgo, ceding to the United States all Mexican territories north of the Río Grande in return for $15 million in cash and a $3.25 million payment of claims by Mexican citizens against the United States. From the conquest of 1846 to the signing of the treaty, the United States administered California under international law as occupied enemy territory in time of war. In the normal course of development, the next step would have been territorial status for the annexed Mexican department. As an American territory, California would", "have remained under the supervision of the federal government, with a measure of home rule granted prior to eventual statehood. Congress, however, balked at granting California territorial status. The Northern states wanted California free of slavery; the Southern states wanted at least part of California, or a territory carved from its southern sector, open to their peculiar institution. Unable to compromise, Congress made no territorial provisions for its newly acquired Pacific empire, and so California stumbled on as a legal hybrid, with the military providing civil administration and Mexican California providing a workable system of local law under its _alcal", "de_ system of governance.\n\nOnce again, as in the Spanish and Mexican eras, California was experiencing difficulties in the establishment of a civil society. As the American population grew, a succession of military governors—seven in all—found themselves increasingly reluctant to administer civilians. Civilians, in turn, found themselves increasingly restive with the necessity of living under the _alcalde_ law of Mexican California as interpreted by the American military government. Originating in Islamic and Christian Spain, _alcalde_ law was not based upon a separation of powers.", "It was, rather, more military in nature, with the _alcalde_ functioning as judge, jury, and chief executive in the local community. Thus the American military officers and civilians who were appointed _alcaldes_ in the interregnum years of 1846–50 held consolidated and centralized authority that would prove unworkable once the Gold Rush had created a population boom.\n\nStill, many _alcaldes_ managed to do good work in this interim period. Appointed _alcalde_ at Monterey, Navy lieutenant", "Walter Colton—a Vermont-born Congregationalist chaplain educated at Yale and Andover Theological Seminary—brought a measure of Yankee order to the capital city of the recently acquired department. With convict labor, Colton built a school and a Greek Revival town hall, using a local yellow stone: the latter was the most ambitious building thus far erected on the Pacific Coast, soon to play an important role in the political evolution of California. Naval lieutenant Washington Bartlett, a Maine man who spoke fluent Spanish, having been appointed _alcalde_ of Yerba Bu", "ena on the northern edge of the San Francisco peninsula, saw grand urban possibilities in the settlement. To bring into being the newly renamed city of San Francisco, Bartlett commissioned Jasper O'Farrell—an Irish-born civil engineer from Chile, now serving as surveyor-general of Alta California—to survey the tip of the peninsula and lay out a town plan that would guide the growth of San Francisco for the next 150 years. Two years later, Army lieutenant Edward Ord established a similarly long-lasting town plan for Los Angeles.\n\nAfter the Treaty of Guad", "alupe Hidalgo, an effort was made to integrate more civilians into the _alcalde_ system. Stephen Field, for example—a Connecticut lawyer with a degree from Williams College, later to be appointed by President Lincoln to the U.S. Supreme Court—served as _alcalde_ of the newly established settlement of Marysville, at the confluence of the Feather and Yuba rivers.\n\nFrom one perspective, the _alcalde_ era represented a fusion of Mexico and the United States that possessed—like the Monterey Colonial style of architecture invented by Thomas", "Oliver Larkin—its own charm and the promise of a successfully fused Yankee-Latino culture, already under development in the Mexican era when so many Yankee émigrés had settled in California and married into local families.\n\nWas this process to continue, one might ask, especially as intermarriage continued through the interregnum period? Was American California destined to evolve gradually as a Yankee-Latino enclave, with an increasing number of Americans marrying Californios or otherwise absorbing Hispanic culture? All five of the Carrillo daughters from Santa Barbara, for", "example, married Yankees. From this perspective, the 1846–50 interregnum would later cast a spell of enchantment—a daydream of California as an Arcadian Yankee Mexico—that would eventually provide the state with some of its most salient myths. Already, a mood of reverie and lost romance can be detected in the memoir _Life in California Before the Conquest_ (1846) by Alfred Robinson, the longtime representative of Bryant, Sturgis & Company whose marriage to the Santa Barbara heiress Anita de", "la Guerra was so extensively described by Robinson's cousin Richard Henry Dana, Jr., in _Two Years Before the Mast_ (1840). Even the flinty Vermont Congregationalist Walter Colton could come under the spell of California, which Colton later described as rivaling the sunny shores of southern France or Italy in his memoir _Three Years in California_ (1850), dedicated to his good friend Mariano Guadalupe Vallejo.\n\nFar from being nostalgic regarding the passing Mexican era, however, Vallejo himself was very much concerned", "with maximizing the possibilities of the new American polity. For all of its existence, California had remained only sketchily developed, and now there was a chance—for such pre-Conquest residents as Vallejo, Larkin, Sutter, Charles Weber, and William Leidesdorff, together with such newly arrived entrepreneurs as Mormon leader Sam Brannan—to develop California as a forward-looking, money-making American place. A son of both Spanish and Mexican California, Vallejo entered into a business partnership with Larkin because the former consul and confidential agent had justifiably earned", "a reputation as the \"gettingest\" man in the province, busy across half a dozen enterprises: thirty new buildings in Monterey alone, designed and built for sale; contracts to supply the Navy; land for sale or lease; wheat and livestock; and, in partnership with Vallejo and Bear Flagger Robert Semple, the creation from scratch of the city of Benicia on the north shore of the Carquinez Strait leading into San Francisco Bay.\n\nSlightly inland, meanwhile, on Mexican land grant property he owned where the Calaveras River flow", "ed into the tidal waters of the San Joaquin, German-born Charles Weber, who had arrived in California in 1841 with the Bartelson-Bidwell party, was busy by 1847 establishing his own new city, Tuleburg, which he renamed the following year in honor of Commodore Stockton, conqueror of California. William Leidesdorff—an African Dane from the Virgin Islands (with a Danish father and a mother of African descent) who had come to California in 1841 from New Orleans, where he had worked as", "a cotton broker—was equally bullish on the newly established city of San Francisco, where Leidesdorff, exempted from the color line (if, indeed, his ancestry was known), was busy building a warehouse and the City Hotel, the first such hostelry in San Francisco, while serving as the treasurer of the new city government and, as chairman of the school board, building the city's first public school.\n\nAnother San Francisco–based entrepreneur, Samuel Brannan, a Mormon elder, was not only developing the city—a flour", "mill, the _California Star_ newspaper, a provisions and hardware business—but was also embodying the socioeconomic boost the newly acquired province had received from the arrival of the ship _Brooklyn_ in San Francisco Bay on July 31, 1846, with its 224 Mormon immigrants—men, women, and children—under Brannan's leadership. Persecuted in the East and Midwest, the Mormons were coming to California as the comparably persecuted Pilgrims had come to Massachusetts on the _Mayflow", "er_ and suppressed Roman Catholics had arrived in Maryland on the _Ark_ and the _Dove._ Almost simultaneously, members of a battalion of Mormon volunteers who had reached San Diego on January 29, 1847, as part of the invading Army of the West were mustered out into civilian life. The Mormons brought to California, at a critical point in its development, social solidarity and much-needed manual skills as sawyers, carpenters, millwrights, farmers, and irrigationists. So too", "would the veterans of the 1st Regiment of New York Volunteers be soon available, once they were discharged in the summer and fall of 1848. Organized by New York lawyer Jonathan Drake Stevenson, who served as colonel of the regiment, the volunteers had come to California as soldier-colonists, with some of the men bringing along their wives and children, thereby adding to the social complexity of the newly acquired province.\n\nA number of discharged Mormons and New York Volunteers found work inland in the employ of Captain John Augustus Sutter", "at New Helvetia. No one seemed better positioned to capitalize on the new American order than Sutter, master of the strategically located northeastern flank of the settled portions of Northern California. Already, overland immigrants who arrived at Sutter's Fort, just inland from the Sacramento River, did their re-provisioning from Sutter's stores, bought or leased their land from Sutter, or contracted from him the labor (and sometimes, it has been alleged, the sexual services) of Native Americans indentured to Sutter or otherwise under", "his control, many of them little better off than slaves. Sutter had great plans for the city (not yet named Sacramento) that would one day rise on his property, and to that end he began to plan for the expansion of the local infrastructure, including an embarcadero (wharf) on the Sacramento River and the construction of housing near the fort. That meant lumber, and lumber meant a sawmill—which is exactly what Sutter commissioned carpenter James Wilson Marshall to build.\n\nA New Jersey native, Marshall had arrived at Sutter's Fort in July ", "1845, joined the Bear Flag revolt, and served with Frémont before returning to partner with Sutter in building a water-driven sawmill. Marshall provided the construction know-how, Sutter the cash. To meet a growing market for construction, Sutter and Marshall realized, the existing way of creating lumber—sawing each board painstakingly with a two-man whipsaw—would have to be replaced by a more efficient water-driven process. Once a sawmill was built alongside a river, running water could turn the wheels that moved the saws that", "cut the logs into usable lumber, which could then be brought down to Sutter's Fort for local use or floated downriver to San Francisco via barge. Selecting a suitable site on the South Fork of the American River where the water ran swiftly, Marshall and a team of Mormon carpenters recently discharged from the Mormon Battalion, together with a handful of Indian laborers, got to work on the sawmill they hoped would make their fortune. Instead, this sawmill changed the course of California history, provoking a mass migration and propelling California headlong into an", "accelerated future.\n\nInspecting the mill site on the morning of January 24, 1848, Marshall noticed some sparkling pebbles in the gravel bed of the tailrace his men had dug alongside the river to move the water as swiftly as possible beneath the mill. Marshall took little notice, thinking the pebbles were merely shiny pieces of quartz. Farther down the tailrace, however, where the water became shallow, he picked up from the gravel bed four or five more of the shiny rocks. Having some knowledge of minerals, Marshall decided", "that the shiny nuggets were either sulphuret of iron or gold. When he pounded a nugget between two rocks, it changed its shape but did not break apart. The nugget was gold, Marshall thought, but he needed further proof. Bringing the nuggets back to the mill site, Marshall announced to his Mormon workers—or so he later remembered—\"I have found it!\" Gathering around Marshall, the men examined the nuggets. One of them, at Marshall's direction, pounded one of the specimens into a thin sheet,", "using a hammer. Another, Peter Wimmer, took the pounded flake back to a cabin where his wife was making soap by boiling lye. Elizabeth Wimmer dropped the flake into the boiling lye, and it brightened. The application of baking powder proved equally positive. James Wilson Marshall had truly found it—found gold!—and California would never be the same.\n\nInformed of the discovery by Marshall, John Sutter pulled his copy of the _Encyclopædia Americana_ from the shelf and read the article on gold. He also treated Marshall's specim", "ens with nitric acid. Once again, the nuggets passed the test. Sutter spent a sleepless night. This discovery of gold would change everything he had worked for! Already the Mormon carpenters had negotiated permission to search for gold in their off-hours. Soon that would be their full-time occupation. Sam Brannan, by then working as a storekeeper at Sutter's Fort, brought the news to San Francisco a few months later. Running through the streets, Brannan shouted at the top of his lungs that _gold, gold, gold_", "had been discovered on the South Fork of the American River!\n\nSoon, just as Sutter had feared, his employees, Mormons and non-Mormons alike, were abandoning their jobs, purchasing stores and equipment from Sam Brannan, and taking to the riverbeds. By late spring, the first wave of the Gold Rush was under way. Hearing of these developments, Army colonel Richard Mason, the military governor, toured the goldfields that July in the company of his aide, Lieutenant William Tecumseh Sherman. Returning to Monter", "ey, Sherman wrote a report, which Mason signed for delivery to President Polk. Army lieutenant Lucien Loeser was dispatched to Washington via the Isthmus of Panama with Mason's report and 230 ounces of California gold packed into an oyster can. Loeser left Monterey at the end of August and arrived in Washington in late November. On December 5, 1848, in a message to Congress, President Polk made it official. Gold had been discovered in California. Overnight, the regional Gold Rush of 184", "8 exploded into the international Gold Rush of 1849.\n\nWithin the following two years, the Gold Rush fast-forwarded California into what historian Hubert Howe Bancroft would later describe as \"a rapid, monstrous maturity.\" Within a year of President Polk's announcement, the non– Native American population of California was approaching one hundred thousand, up from the less than ten thousand of 1848. Even more astonishingly, California had organized itself as a state, bypassing territorial status, had held elections, and was petition", "ing Congress for admission into the Union. Within three years of President Polk's announcement, the non–Native American population had soared to 255,000, and a new metropolis, San Francisco, had sprung into existence like Atlantis rising from the sea. In just about every way possible—its internationalism, its psychology of expectation, its artistic and literary culture, its racism, its heedless damage to the environment, its rapid creation of a political, economic, and technological infrastructure—the Gold Rush established, for better or for worse, the", "founding patterns, the DNA code, of American California. Josiah Royce believed that the Gold Rush offered a case study in American character and hence was of importance to understanding the nation. Like the Revolutionary War, the Great Awakening, the Louisiana Purchase, or the Civil War, the Gold Rush, according to many historians, constitutes a defining moment in the development of the United States.\n\nFirst of all and most fundamentally, it was exactly what the name implies: a rush, a mass migration, of mainly younger men and some of middle age from all corners of the earth,", "including China and Australia, who ventured everything, their lives included (one in twelve would die in the process), on the gamble that they could strike it rich and thereby break through to a better life. Such a hope, such a psychology of expectation, fused the California experience irretrievably onto a dream of better days: of a sudden, almost magical, transformation of the ordinary. Ironically, such an expectation was also reprising the dreams of the Spanish conquistadores, explorers, and maritime adventurers of the sixteenth and seventeenth centuries. The Spanish quest for El Dorado", "was now being Americanized with its psychological and mythic hold as powerful as ever.\n\nLike the Spaniards, moreover, the forty-niners first had to get there, which remained a formidable task. While not as difficult as the voyages of Cabrillo and Vizcaíno, or the overland treks of Portolá and Anza in times past, reaching California in 1849 was still a daunting challenge. It could involve, at its longest, a voyage of five to eight months around Cape Horn or an overland trek of equal duration.", "Crossing the isthmus of Panama or Nicaragua (or in some cases Mexico) could cut down on this time by as much as two thirds by 1850; but the trip across the isthmus—from Chagres, then up the Chagres River by boat, then down to the Pacific by mule or foot (such a trek as a plucky Jesse Benton Frémont was making in the spring of 1849, en route to California to join her husband)—involved high risks and probabilities of accident, fever, s", "nakebite, alligator attack, drowning, or various forms of mayhem including robbery and murder. Some overland travelers preferred an approach to California along the Old Spanish Trail through the deserts of the Southwest, even to the point of crossing Death Valley as the William Manly party, after much travail, succeeded in doing in 1849.\n\nIn rapid order, however, a maritime voyage to California became, for those who could afford it, relatively safe and comfortable, with such companies as the Vanderbilt Line and Pacific Mail Steamship providing steamer-", "sail service from New York to Chagres and from Panama City on the Panama–Pacific Coast to San Francisco. When a railroad was completed across the isthmus in late January 1855, California became even more accessible, and the percentage of women in the non-Indian population rose to 10 percent. Eighteen forty-nine was, however, primarily a year of arrival by sail. By October a forest of masts rose from 308 abandoned ships crowding San Francisco Bay. By June 1850 that figure had doubled to 6", "35 vessels, and a number of ships had been dragged ashore to serve as warehouses, saloons, hotels, and in one case—the brig _Euphemia,_ left floating but permanently anchored offshore—a city prison.\n\nBy then, the Mother Lode—which is to say, the 120 miles of Sierra Nevada foothills and mountains centered on the Mokelumne River—teemed with mining camps of every description. In his report to President Polk and his subsequent actions and judgments, Colonel Mason", ", governor of California, established a social and political doctrine of overwhelming importance. The goldfields, Mason decreed, were under the jurisdiction of the federal government. They were freely available for prospecting and mining as long as certain filings and protocols were observed. The gold of California was not under private ownership. It belonged to everyone, provided one could find it, lay legal claim to it, extract it, and get it safely to one or the other of the many assay centers that were now springing up where nuggets could be weighed, valued, and melted into ing", "ots for shipment to San Francisco and New York. All told, some $594 million in ingots—the equivalent of $10 billion in 2001 dollars—would over the course of the next decade be leaving the goldfields of California for the eastern United States.\n\nOver the past 150 years, historians have interpreted the Gold Rush successively as a mid-Victorian epic of Anglo-Saxon progress (Hubert Howe Bancroft), a case study in American self-government (Charles Shinn), a", "moral crisis (Josiah Royce), a challenge to community building (John Caughey), a technological triumph (Rodman Paul), an outpouring of entrepreneurial self-actualization (J. S. Holliday), a case study in the persistent and shaping influence of American institutions (Malcolm Rohrbough), a transformation of America itself (H. W. Brands), and—from the perspective of young Turk New Historians—a nightmare of violence, lynch law, racism, genocide, xenophobia, class and", "sexual conflict, and brutal degradation of the environment. Each of these interpretations is true in its own way, but not the full truth. A protean and transformative event, the Gold Rush remains multiple in its meaning, with each generation finding in it corroboration for contemporary concerns.\n\nGold Rush California was primarily a man's world, at least until the mid-1850s; and, yes, it could be wild, free, unconstrained, exuberant. Such a vision of the Gold Rush as festival shivaree, as high jinks", "in the Mother Lode, can be found as early as the first humorists to cover the event—Alonzo Delano and Prentice Mulford, followed by Bret Harte and Mark Twain— and in the Gold Rush paintings of Charles Nahl. Hubert Howe Bancroft celebrated this point of view in _California Inter Pocula_ (1888), which is to say, California in its cups. This interpretation of the Gold Rush as a fun-filled and affirmative adventure survived through numerous celebrations, including the 1949"], "context": "", "task": "lrlm", "teacher_scores": [-2.28125, -2.3125, -2.28125, -2.34375, -2.34375, -2.3125, -2.296875, -2.296875, -2.28125, -2.3125, -2.28125, -2.3125, -2.296875, -2.296875, -2.296875, -2.34375, -2.296875, -2.328125, -2.296875, -2.328125, -2.296875, -2.3125, -2.3125, -2.3125, -2.296875, -2.28125, -2.296875, -2.34375, -2.296875, -2.25, -2.28125, -2.3125, -2.25, -2.28125, -2.34375, -2.328125, -2.3125, -2.296875, -2.328125, -2.296875, -2.328125, -2.328125, -2.328125, -2.359375, -2.359375, -2.328125, -2.328125, -2.34375, -2.34375, -2.375, -2.359375, -2.3125, -2.28125, -2.3125, -2.296875, -2.234375, -2.25, -2.265625, -2.328125, -2.3125, -2.328125, -2.28125, -2.28125, -2.34375]}
{"query_id": 24236, "query": "that understand them.\n\nAnd as we'll discuss in greater length in the chapters to follow, a sense of belonging is critical to human happiness.\n\n\"To some extent,\" Rana says, \"that sense of belongingness to a group is the strongest thing in my life. When I talk to other Native people, there is this underlying reassuring thought that no matter what else happens, you still have your sense of group identity. And it's layered, right? Being Mohawk, and then Haudenosaunee, and then Native American, and then indigenous, and a woman", "answers": [", and young... these identities are in circles. There are moments when I'm really upset about life, or don't want to put the work in, when this sense of being part of something larger gets me out of bed in the morning.\" We all have our own intersecting identities that shape our experience of the world.\n\nHaudenosaunee or Iroquois culture explicitly asks you to live your entire life considering how everything you do will impact seven generations from now, from how much sugar you put in your tea to what sort of car you drive. It lends an almos"], "pos": [], "neg": [", and right. Writing about college students rather than monkeys, author and educator John Warner points out that two critical appraisals shaping what we think of as fair are _scarcity_ and _precarity_. An appraisal of scarcity leads to the perception that resources are limited, that one might need to compete and to scramble. An appraisal of precarity leads to the perception that one's current standing is vulnerable, that the slightest wind could topple you. There are not enough grapes to go around (scarcity) and you", "have a grape coming to you but its arrival is not guaranteed, it could be snatched away at any moment (precarity).\n\nWarner sees these appraisals at work in the current high rates of mental health problems among college students. Scarcity is real, especially among those not in the highest income brackets: only so many people can get into and stay in college and succeed there, and many students must make sacrifices such as tremendous financial debt and missed meals to do it. Precarity is also real in this age of politicians scraping away the safety net", "and everyone and their uncle running GoFundMe drives to pay for their heart surgery. In the presence of scarcity and precarity, competition and selfishness and accusations of resource hoarding and freeloading can escalate. So, too, might depression and anxiety, Warner reasons, pointing out that when national surveys ask students what they worry about, they point to future employment and finances and their grades (which translate into employment and finances and social standing in the future). Much like de Waal's monkeys, our conception of the world relies to a large", "degree on our perceptions and observations of our social others.\n\n\"I wish I was good at animation or drawing,\" Patrick says, \"because I have this idea for an animation. It would depict a human being with a thought cloud above her head. All her thoughts are spinning in a certain direction. Then she walks past another human being with his thought cloud—but his thoughts are going in the opposite direction. The two people crash into each other and so do their thought bubbles, which combine a bit and influence each other.\" Our thoughts don't just stay in our heads, they spread out and", "influence each other.\n\nThis interpenetration and social spread of thoughts is also one of the driving forces behind Patrick's blog writing. When he perceives a discouraging negative trend in the hivemind, he sends a positive blog post out into the world, his own thought cloud hopefully colliding with a few other clouds and spinning them in a positive direction. His posts aren't naive cheerleading—they're grounded in anthropological science and empirical research—but they do try to nudge the hivemind narrative a bit in a hopeful direction", ".\n\nOne of my favorite blog posts of Patrick's is titled \"Thresholds of Inclusion.\" In the post, Patrick refers again to primatologist and grape dispenser Frans de Waal, who has described human empathy as existing in \"moral circles.\" The tightest circle, for whose denizens you have the greatest empathy, consists only of yourself. One step out is family. Next, village. Next, ethnic group. Next, nation, and so on until you reach humanity, and then perhaps all living beings.\n\nBut as Patrick points out,", "a lot of these definitions are arbitrary. You are not the same you, static through time. Friends can become like family, what Sarah Blaffer Hrdy calls \"as-if kin.\" For some people, nationality trumps ethnic identity. Research shows that if you prime one aspect of identity or another or manipulate people's beliefs about the biological versus social construction of race, these manipulations shift participants' level of bias against outgroups.\n\nWe compare our experiences in the world to those of others and form expectations and resentments in relation to how we perceive others are doing. It is", "yet again all about context and appraisals, the story we tell ourselves.\n\nThis metaphor of thresholds of inclusion is not just a metaphor, however. When we spend time with our social others, we begin to synchronize with them, to line up not just our mannerisms and our actions but also how we perceive the world—to literally include them in our sense of self. Research on how our brains harmonize with the brains of people in our inner circles is called neural synchrony, and it is (in my humble opinion) some of the most fascinating research", "currently being conducted in psychology.\n\n# TUNING IN: NEURAL SYNCHRONY\n\nSocial neuroscientist Thalia Wheatley has spent the past several years spying on first-year students at the Dartmouth Business School. Dartmouth is situated in Hanover, New Hampshire, which is far from a metropolitan mecca. Wheatley likes to joke that the tree/person ratio is quite lopsided, with the leafy denizens easily outnumbering the bipedal ones. The business program has its own building on campus", ", where students spend most of their time taking classes, eating together in the dining hall, and living together in dorms. Thus, Wheatley has access to a group of human beings new to one another settling into a shared social endeavor for several years, spending nearly all of their time working and learning and sharing with one another. It is as close as a social psychologist might get to a controlled experiment, with the ability to observe social networks forming in real time. Even better, every fall the experiment begins anew with a new crop of students. It also allows for one of the gold", "standards of great research: longitudinal designs, where you can assess groups of people at one point in time and then follow them forward into the future to observe changes.\n\nTogether with fellow psychologist Carolyn Parkinson and some other collaborators, Wheatley has started answering sophisticated questions about the degree to which we experience the world similarly to our friends at the level of the brain—and whether we seek out friends who think like us. She calls this work \"neural homophily,\" where homophily refers to attraction to sameness.\n\nShe and her lab created a series of video cli", "ps that were designed to include \"engaging but divisive,\" content that would evoke a variety of positive and negative responses depending on who was watching. Think snippets of political speeches, comedy routines, mockumentaries. She had one cohort of the Dartmouth Business students watch these videos while in the fMRI scanner and observed how eighty different areas in their brains reacted to these video clips. Because they were a cohort, she was also able to measure their entire social network. For each person she could see not just whom they were connected to through friendship but also who was connected to", "them—so not just who were friends but also friends of friends and friends of friends of friends. She then took their brain responses to the videos and examined them to see how closely they did or did not seem to covary, to activate and deactivate similar regions of the brain and at similar time points.\n\nWhat Wheatley and her collaborators found was that friends of friends of friends did not have similar neural reactions to the videos. But once you moved one step closer to real connection, the brain activity started lining up. Friends of friends exhibited changes in brain activation that were significantly correlated", "(related), and first-degree friends much more so.\n\nAt the level of the brain, we react to the world similarly to our friends. While this specific study only examined brain activity, the overarching idea is that friendship involves a sharing of experience: the same things make us laugh, make us feel disgusted, make us pay attention or become bored.\n\nThere are at least two compelling possibilities for why Wheatley and her colleagues observed these results. For one, it could be that the brain-based correlations are due to common, shared life experiences, that part of the", "development of friendship is a tuning or synchronizing of our brain activity and reactions to the world. If this is true, you should see that these correlations grow stronger over the course of the friendship, as the months and years experiencing life together pile up. On the other hand, it could be that we are attracted initially to people who react to the world in a similar manner. If this hypothesis is true, then you should observe the correlations between two likely friendship candidates before they ever become friends. Moreover, you should be able to use brain activation patterns to predict who, in the future, will choose whom for", "shared fun and venting and Netflix bingeing. (And of course, it could well be that the truth is that both are true to some extent.) Wheatley and her team are actively testing all the possibilities.\n\nThey aren't the only researchers investigating neural synchrony. In an innovative brain-imaging study of how shared memories might work at the level of the brain, a group of researchers out of Princeton University asked some research participants to watch an episode of BBC's show _Sherlock_ while in the scanner. Once out of the scanner", ", the participants were asked to describe the show, much as one would having just watched with a friend. The researchers compared how similar (or different) people's brain activation was when they were viewing and when they were remembering the various scenes of the television show. Remarkably, people's brain activation when retelling the events of the episode was more similar to someone else retelling the story than it was to their own brain activation when they first experienced Sherlock and Watson's antics. In an interview with the website DeepStuff.org, lead researcher Janice Chen interprets these findings as", "showing that there are \"fundamental similarities between the brains of different people as they perceive and remember the real world. That gives us good groundwork for understanding each other.\" In other words, these similarities in how we experience the world allow for our interpretations and recollections to line up and become similar, to synchronize.\n\nIn another example, some Finnish scientists asked people to lie in an fMRI scanner and watch short film clips from popular movies, selected to induce various positive and negative emotions (e.g., _When Harry Met Sally_ , _The God", "father_ ). After having their brains scanned, participants watched the movies again, this time rating their emotional ups and downs as they viewed them. The researchers then looked at all of the subjects' data together, paying special attention to when the participants exhibited similar patterns of brain activation and how these times of synchronized activity were associated with the emotional highs and lows of the film clips. Their results indicated that when the participants felt intense negative emotion, their brain activity showed remarkable similarities, particularly in areas known to be involved in the processing of emotion. \"Through this", "kind of mind-simulation,\" the authors write, \"we may estimate others' goals and needs more accurately and tune our own behavior accordingly, thus supporting social interaction and coherence.\" Intense emotional experiences may direct people's attention to similar features in the environment and synchronize their brain activity, allowing the experience to be lived in similar ways and thus enabling a shared understanding of the content of another's mind.\n\nThese are all examples of synchrony that involves similarities in brain activation patterns during shared mental states, a lining up. On the other hand, two people in conversation with", "each other might show something more like an improvisational jazz trading, with one person's verbal areas lighting up and then quieting down as the other takes his turn to speak and vice versa.\n\nResearch on just this latter topic got a lot of press when the scientists observed that your word production brain regions light up a few seconds in advance of you speaking, leading to all sorts of headlines about \"listening is just taking turns preparing to speak.\" It's possible to interpret this research to mean that we don't really care what the other person is saying, that we're", "just getting ready for our turn to talk. But rather than demonstrating inattention to what the person is saying, these overlaps may illustrate how conversation involves a mutual experience where your thoughts can influence one another. As social neuroscientist Beau Sievers once said in a conference talk, \"conversation is neurofeedback,\" your brain activity influencing someone else's brain activity and then the interaction looping back to affect you again.\n\nAs I'm speaking, you are anticipating what I am going to say next, and you are preparing your response—so even the moments when I'm", "talking and you're quiet, we're both still contributing. There is also evidence that this predictive synchronization is associated with better comprehension—that is, if your brain activity was similar to Jeb's while you were thinking about what he'd say next, you'd be more likely to easily understand his next utterance. Listening is a sort of rudimentary mind reading.\n\nWe are one in conversation together.\n\nTogether, this body of research increasingly suggests that the famous quote, \"You are the average of the five people you spend the most time with\"* is", "on the right track. The number is suspect, and of course we all vary in the degree to which we are susceptible to influence. But the general idea that your close social others impact how you process the world, the appraisals you make and emotions you have, is supported by this body of work on neural synchrony. If you spend most of your time with other people who tend to make appraisals about a cutthroat world where everyone cheats to get ahead, you'll probably start seeing examples of selfishness everywhere and questioning everyone's motives. If you spend time with people", "who care and are kind, recycle and volunteer, you might find yourself a more generous person.\n\nI know who I'd want more as friends anyway.\n\n# THE ULTIMATE SYNCHRONIZATION: ROMANTIC LOVE\n\nBefore we wrap up, I can't help but ask Patrick about the series he wrote on romantic love: _Humans Are (Blank)-ogamous_.\n\nPatrick unpacked the science of mating and bonding and romantic love to ask: Are we shaped by an evolutionary quest", "for one true love to bear or help raise our young, or are we instead born to be promiscuous opportunists, craving novelty? What is our \"true\" nature when it comes to that most basic of collective groups, the first step toward a hive: the romantic couple?\n\nThe answer: it's complicated.\n\nAccording to Patrick, a lot of the answer will probably rely on how we frame our questioning of romantic love. If we're asking whether it is easy and natural for human beings to bond with a single partner who meets all of their sexual,", "romantic, and companionship needs over the course of an entire lifetime, then the answer is almost undoubtedly no. But if the question is framed instead as whether human beings evolved to be naturally drawn to attractive mating partners, focus attention wholly on them long enough to bond, intertwine their lives and goals, often procreate, and then enjoy the process of early heady intoxication settling down into a warm, supportive companionship, at least for some stretch of time? Then the evidence seems to point to the fact that we likely are, as advice columnist Dan Savage", "once put it, \"monogamish.\"\n\nThis is an intriguing question to me as well, but I am more curious about how romantic love affects our minds and brains in hivemind-like ways, the melding and synchronization that makes us feel like we have literally become one with another. In other words, how it occurs that as novelist David Mitchell writes in _The Bone Clocks_ : \"Love is a blurring of pronouns.\"\n\nFor the nature of love may be elusive, but instances of it are not—it", "is an experience found in nearly every culture on the planet. Passionate love is characterized by an obsessive focus of mental attention on another individual, a driving need for physical closeness, feeling like you have a map to the other's mind, and an overidealization of both the partner's attributes and how similar you are to each other. There is also a common sense of involuntariness, of being driven to this person, combined with a desperate sense of temporality to the feelings. As Patrick writes, \"Love would not be very good at its job if it was left to rational", "choice, or if we knew where the off switch was. Instead, it is much more effective because it seems to grab us by the throat.\" One must act.\n\nAll of these experiences indicate a breakdown in the boundaries between self and treasured other, a merging of one's thoughts, goals, time, and priorities, and yes, even a literal dismantling of the physical boundary between self and other. For what are sexual acts but a blurring of the strict confines of one's physical self, a jubilant (if temporary) ceasing of the separate,", "lonely self, dissolved into blissful union with another?\n\nFor a clue to _this_ mystery, we can check the _New York Times_ op-ed section. A bit before Valentine's Day 2015, the _Times_ published an about-to-be-viral essay by Mandy Len Catron called \"To Fall in Love with Anyone, Do This.\"* In the article, Catron shares that she used a technique studied by famous psychologist Art Aron in 1997 to artificially generate intimacy between strangers. The technique involves", "pairing off with a partner and asking him or her thirty-six questions that start with the impersonal ( _Before making a telephone call, do you ever rehearse what you are going to say?_ ) and then introduce increasing degrees of intimacy ( _If you were to die this evening with no opportunity to communicate with anyone, what would you most regret not having told someone? Why haven't you told them yet?_ ) A number of the questions also prompt the partners to compliment one another with increasing levels of detail, and to state several \"we\" statements, for instance, \"We are", "both in a crowded room feeling quite hot.\"\n\nAt the end of the thirty-six questions, the partners are instructed to stare into each other's eyes for four minutes. In typical one-on-one interactions, people tend to repetitively meet eyes and then look away, with the average length of each eye contact episode averaging three to five seconds. Couples who are physically attracted to each other tend to hold each other's gaze both more frequently and for longer periods of time, but still on the order of under ten seconds. As my favorite psychology professor, Michael Flem", "ing, once told our classroom of rapt freshmen, \"If someone holds your gaze for longer than a few seconds, watch out—they either want to f$ck you or they want to kill you.\" So you can imagine that holding a gaze for 240 seconds is... intense.\n\nArt Aron performed many versions of this essential research paradigm over the years, and lore has it that two couples from his studies, strangers when they walked into the lab, eventually married. Catron herself ends up in a committed relationship with the friend she dragged into the activity with", "her.\n\nAccepting for a moment that we believe the strong form of the argument here—that using these thirty-six questions and the eye contact could, in fact, make any two people fall in love—let's consider what the mechanism could be. That is, how could answering a series of questions and awkwardly maintaining eye contact with someone trigger such a complicated hormonal/motivational/emotional/cognitive experience as romantic love, something so vast and complicated that it is steps away from magic?\n\nTurns out, the questions are expertly designed—by expert Ar", "on and his colleagues, that is—to intentionally begin blurring the boundaries between you and the other person, to serve up on a platter your innermost wishes and memories and fears. They take thoughts and memories and emotions that are usually held inside and only shared with oneself or the closest of the others ( _When was the last time you cried by yourself?_ ) and put them in the hands of this intriguing other, who is in turn sharing his or her innermost thoughts with _you_.\n\nThe \"we\" statements are icing on the cake.", "Those explicitly ask you to merge your identities and discuss your experiences as if you were one person. \"We are feeling hot in this room.\" There is nothing mystical about these questions. They simply nudge a couple along the way toward developing the blurring of boundaries, the synchronization of thoughts and desires, that would occur much more slowly and naturally in the wild. We could think about these questions through the frame of Patrick's thought clouds. Instead of allowing thought clouds to naturally collide now and then by happenstance, the questions explicitly merge the thought clouds and bind them together for a time, long enough", "for some degree of melding to take place.\n\nRomantic love, then, may be the extreme version of the same sorts of neural synchronization Thalia Wheatley and others are investigating as the basis of friendship and familiarity with social others.\n\n# BIRDS OF A FEATHER\n\nThe development of human culture facilitated cooperation with ingroup members. We tend toward homophily—like attracts like—in cultural background, demographics, and perhaps even in how our brains perceive the world. We not only prefer people from our cultural ingroups", "but also specific people within that ingroup. We choose friends who see the world in similar ways, synchronizing with them. Romantic love may be the peak of this synchronization as we dissolve into each other, no longer separate beings.\n\nBut these ingroups are not set in stone. Our ingroups are influenced, as is everything else, by the appraisals we make, the stories we tell ourselves. We may feel more kinship toward the people who share our love of science fiction than the family we grew up in or the religion we were raised in. The ties that bind us to", "a group that perfectly mirrors our identities at one age may fray as we get older and our interests change. Our appraisals of inclusion, our moral circles, are open to manipulation.\n\nAs we'll see next, social media may be having both beneficial and pernicious effects on these social tendencies. They can both build us up and take us down, augmenting both the positives and the negatives of our ultrasocial natures, and the negatives are indeed quite negative.\n\nWinter is here.\n\n# WINTER\n\n# Chapter Four\n\n#", "Building Us Up and Taking Us Down\n\n_Brooklyn, New York_\n\nAs I approach my hotel, I can't help but notice a swarm of teenage girls a few years older than my daughter milling around outside. They smile and laugh but hold themselves in space with a fraught tension that makes my heart ache. Entering the hotel, I am drawn up short by a bodyguard in a black suit standing stiffly with his arms crossed. I ask him lightly what the deal is with the young crowd. He reluctantly admits that they are there because", "his client is staying at the hotel, but he can't divulge who that client might be.\n\nI raise an eyebrow and reflect that the young women must have seen on Instagram or Twitter that their idol, whomever he or she may be, was spotted at this locale. What a wonder of this age, that one can track every move of one's celebrity heartthrob through space, see what the celebrity is eating for breakfast and what he or she is sipping at the club and which other shiny famous people are in the celebrity's group", "selfies. I have one of those \"in my day...\" moments and roll my eyes at myself.\n\nOf course, one doesn't need social media to encounter celebrities in New York City. On one visit to the city I met a friend for dinner and we unknowingly plunked ourselves down two tables away from the actress who plays Piper on _Orange Is the New Black_.\n\nBut I'm here today not to meet a singer or actor but Rana LaPine, currently project coordinator at First Nations Development Institute. Because she is someone working on collective action and is a", "millennial who grew up with social technologies, I thought Rana's perspective might be valuable on those topics—particularly because, as you'll see, she is a delightfully sharp contrast from what we've been led to believe is a selfie-obsessed, narcissistic generation. She is also a great example of someone who embodies our principle of _enhance, don't eclipse_ in her social media usage. Finally, I knew she had found a rich community online and was active on what she calls \"Native Twitter.\" I was eager to hear her thoughts on Twitter", "'s call-out culture, or the practice of calling people out publicly when their behavior steps outside social norms.\n\nI'm excited for lunch after an early morning wake-up and long drive into the city, and so Rana and I meet up in the hotel restaurant. Her shiny black hair is even longer than I remembered, settling around her waist in a curve, but her warm smile and penchant for dramatic beaded earrings haven't changed at all.\n\nI ask Rana what it was like growing up as a millennial, both in terms of", "the perception of her generation as \"digital natives\" and the challenges of coming of age with social media.\n\nRana tells me that she is often frustrated with the perception of her generation as not working as hard as previous generations, because this theme has recurred as long as there have been generations following one after the other. \"I'm sure that in ancient Egypt parents said things like, 'Oh, now that we have papyrus, it is too easy for these kids,'\" she says, \"'because they don't have to work chiseling rock like I", "did.'\" But Rana also has to admit that she sometimes looks at younger children on their iPads and, before she can squelch it, has a knee-jerk reaction about the fact that at that age she used to work with crayons and paper. I reflect on my thoughts about celebrity Instagram just a few moments earlier and smile.\n\nAs we discussed in chapter 2, stereotypes are stories we tell ourselves about people who belong to certain social groups. We have stereotypes about generations as much as we do about other social groupings, an unpleasant", "side effect of our tendency toward story making.\n\nBut part of our hypersociality is also our capacity for community building, and taking our lives online means that we have another medium through which to accomplish the development of these networks.\n\n# BUILDING US UP: ENHANCING EXISTING RELATIONSHIPS\n\nSmartphones and social media can build community by drawing us closer to people we already share real-life connections with and by introducing us to whole new communities. We can remain close with our social others even when they are no longer part of our face-", "to-face lives due to the constraints of physical distance or circumstance. It has been about ten years since I have visited with a married couple I became close to in my graduate school years, but I have felt part of their journey as they moved from spot to spot, started new careers, lost parents, and began a new chapter of their lives as adoptive parents of two beautiful foster children. Before social media, our lives would have diverged instead a decade ago.\n\nClive Thompson is a journalist and author of _Smarter Than You Think: How Technology Is Changing Our Minds for", "the Better_ , which argues, well, that we're smarter than we think and that technology is changing our minds for the better. He focuses on many topics, from how Google is affecting our memories to how some pioneers are using tiny video recorders to create permanent records of their lives. But most relevant for our concerns is his consideration of how social media changes our understanding of each other.\n\nThompson points out that one of the easiest and most prevalent criticisms of social media is that it increases narcissism—\"Honestly, who cares what you had", "for breakfast?\" But contrary to popular wisdom, Thompson argues that you can't isolate single status updates and judge their value. For their value lies in the landscape they plot out for you, in the sense of the \"ambient awareness\" we develop of the rhythms of our friends' lives. When we post what we had for breakfast—and what articles we're reading and our frustrations with our commutes—we are establishing a map of our lives and sharing it with our social network. Thompson says these \"ambient tools weave this knowledge into a tapestry you can glance at", ", which makes the picture both more complete and more inviting.\" It also allows us to notice disruptions in a friend's feed and reach out to them if they are struggling, or to note that a friend has had a lot of successes lately and arrange to celebrate in person.\n\nA common criticism of social technology and smartphones is that our mobile devices draw us away from the people we are with, leaving us not truly present. A viral project by photographer Eric Pickersgill called _Removed_ depicts people in their daily lives physically present with their friends and families", "but emotionally removed due to their attention to their smartphones and other devices. To drive home the point about physical presence accompanied by emotional absence, he digitally removed the smartphones and devices so that people were ignoring each other to peer at nothing: a couple in bed lie in rumpled sheets, backs to each other, staring blankly at their cupped hands; a mom and her daughter sit on a couch together, empty faces peering down at their empty laps. The pictures have an eerie resonance, and it is a fair critique of smartphones and social media.", "But it is also missing a critical element—what is happening on the smartphone. For smartphones may remove us from the people we're with, but they can also connect us with the people we're _not_ with. We could take a competing set of photographs—a grandmother beams down at a video she just received of her grandchild's first steps, a stressed-looking woman is interrupted in her harried day by a text that makes her stop and blush and bite her lip, a college student bursts out laughing at a meme just sent by a friend", ".\n\nFriendship and love have always involved an overlapping of our mental interiors. With the ambient awareness that social media brings, we can have an ever-present awareness of our friends and lovers moving through their separate real-life space, eating and creating and thinking and feeling. Indeed, research shows that frequently interacting with social others who are not part of our daily lives can shore up our sense of shared intimacy, acceptance, and belonging. A study of college students in the early days of Facebook found that heavier users had more \"social capital,\" a broad term that", "refers to resources provided by having social support, and using social media intentionally to connect with people has been found to be associated positively with measures of well-being.\n\n_What_ you do online matters. A large review of this research concluded that _passive_ use of social media—so-called lurking, only viewing others' posts and not commenting on them or contributing your own—is negatively associated with well-being. However, _active_ use of social media—posting, commenting, sharing—is positively associated with well-being. The negative effects", "of passive use are tied to envy and social comparison, whereas the positive effects of active use are tied to feelings of social connectedness. Even not all active use is created equal: receiving personalized content (e.g., sharing photos, links, memories) from close friends is predictive of well-being, whereas neither lurking nor receiving \"one-click feedback\" (that is, \"likes\" or \"favorites\") is predictive of well-being.\n\nOne of my favorite quotes is from writer Louis Adamic: \"My grandfather always said that living is like l", "icking honey off a thorn.\" I think that our hivemind narrative surrounding smartphones and social media is so focused on the thorn that we have forgotten that the honey exists at all. I recently took a day and tracked all of the social benefits granted me by my smartphone—from my two-year-old niece sending me an audio file telling me that she loved me to organizing a team of six friends to take shifts visiting my dog during my vacation to ordering Mother's Day gifts while in line at the grocery store. With a few clicks we", "have unprecedented access to vast stores of human knowledge, can engage with scholars and celebrities on Twitter, and are able to maintain social connections despite limitations of time and space. These benefits absolutely come with thorns, many of which we've touched on already and many more of which we'll spend our other winter chapters considering in depth.\n\nBut I think it worthwhile to stop now and then to lick the honey.\n\n# BUILDING US UP: AUGMENTING\n\nThe second way that social technology can build us up is by connecting us to new", "communities online that we don't have access to in our everyday lives. These communities can fill gaps that exist for any number of reasons, including a lack of people with similar interests around you, sudden moves for work or school, introversion, depression, or other personal attributes that may make it difficult for you to form in-person connections.\n\nRana has had just this experience. Social media played a large role in helping her form a deeper connection to her cultural heritage as a Native American woman. Both of her grandparents on her father's side are Mohawk and French Canadian, their families having", "emigrated from Canada a few generations back. Given the cultural climate at the time and the fact that they could pass for white, they lost touch with many of their cultural traditions and instead focused on assimilation and avoiding discrimination. But through Facebook and Twitter, Rana sought out a network of people who could connect her to those traditions. She found a huge amount of support from other Native people who were happy to answer her questions, link her with resources, and expand her knowledge of her people's history.\n\n\"Social media has some real creeps,\" Rana says, \"but you", "also have elder Native women on Twitter who reach out and teach you about your heritage.\"\n\nRana isn't the only person to have found a rich community online, a way of building up her belongingness. Another good friend of mine has similarly found online a social network of supportive others. Her name is Teri Clarke, and she is a speculative fiction writer who sometimes writes under the moniker Zin E. Rocklyn. Teri credits social media for both her current career and for being a lifesaver. \"In addition to support and help I've gotten from friends that I'", "ve made in real life,\" Teri told me, \"growing up, there was always one definition of blackness that I never really fit into. I was targeted or ignored because of this mismatch between what I was and what was expected of me. But online I found a community of black women who shared my way of looking at the world and who also loved to write horror.\" Through these social media connections, Teri has been published in an award-nominated anthology called _Sycorax's Daughters_ , earned a fellowship to a prestigious writer's workshop, and", "made connections that directly and indirectly yielded conference presentations, publications in essay collections, and financial support for her work.\n\nBoth Rana and Teri's stories reflect an idealized version of what we were promised from the internet and social media—a potential for community building across time and space, allowing for these connections to build based on mutual interest rather than geography or demographics or chance. The popular site called Meetup is designed for just this purpose, to allow strangers with shared interests and hobbies to link up. At its launch, the founders anticipated that most of"], "context": "", "task": "lrlm", "teacher_scores": [-2.453125, -2.421875, -2.4375, -2.421875, -2.46875, -2.46875, -2.5, -2.453125, -2.421875, -2.40625, -2.421875, -2.4375, -2.4375, -2.46875, -2.40625, -2.421875, -2.4375, -2.484375, -2.453125, -2.40625, -2.421875, -2.421875, -2.421875, -2.40625, -2.421875, -2.4375, -2.453125, -2.46875, -2.46875, -2.5, -2.5, -2.453125, -2.4375, -2.4375, -2.46875, -2.484375, -2.453125, -2.5, -2.515625, -2.4375, -2.421875, -2.453125, -2.5, -2.5, -2.4375, -2.40625, -2.40625, -2.453125, -2.484375, -2.46875, -2.46875, -2.453125, -2.4375, -2.453125, -2.453125, -2.484375, -2.453125, -2.453125, -2.4375, -2.453125, -2.515625, -2.46875, -2.453125, -2.484375]}
{"query_id": 17816, "query": "school in 1948 and ran it with our help until 1992, when she was diagnosed with Parkinson's disease. Umberto has run it since.\"\n\nShe paused for a moment and Cenni could see tears welling in her eyes. He waited patiently for her to continue.\n\n\"After Anna's death, we found that she had left the school to Umberto and Livia jointly. Umberto offered to give Livia half the yearly profits, but she insisted that we pay her half its market value, the equivalent of 500", "answers": [",000 euros. We did, but we had to mortgage the house. Anna was not herself at the end,\" she said, her voice beginning to quiver. \"At one point, she made a will leaving everything to Camillo, my son, who had already been dead some fifteen years. She was always scribbling wills before she died. Most of them were barely legible and none of them were legal. Of course, in the case of the school, Livia was her daughter and the will was properly executed under Italian law . . . but she'd told me so often that"], "pos": [], "neg": ["rich dazzling color. The count told them with great pride that the ceiling was attributed to the Florentine, Alessandro Allori, who had also worked for the Medici on the Uffizi ceiling.\n\nThe few pieces of furniture—the count's desk, which was placed directly in front of the windows to capture the little natural light that entered the room, and four display cases—were antiques, seventeenth-century, according to the count, and irreplaceable. The single touch of modernity in the room was the count's chair, which although disgu", "ised in cracked leather, was of an ergonomic design, no doubt a concession to his arthritis. The reasons, however, for the elaborate alarm system and the expensive insurance policy were the books and a curious display of Venetian daggers.\n\nCenni stopped to admire one of the daggers. Its placard described it as a _misericorde_ , circa 1560, the blade forged in Damascus. It was a straight, very narrow dagger with a deadly edge. The hilt, which was out of proportion", "to the blade, was unusual: an elaborate twisting of silver and gold wire in the shape of a mermaid, its pommel a gold ball inset with a large bloodred ruby. The count leaned over Cenni to see what was attracting his attention.\n\n\"It's called a _misericorde_ ,\" the count explained, \"because it was used to give the final mercy cut to one mortally wounded.\" He mimed a cutting action across the throat. \"It would kill instantly, although it's not a fine example of that particular weapon,\"", "he added derisively. \"Its proportions are all wrong, but the ruby is rare, a star ruby of unusual size and quality and quite valuable. But I think you'll find that the books are of more interest, Dottore.\" He went on to tell Cenni—and Piero when he acknowledged his presence—that the majority of books were legal documents: \"One of the finest libraries of its kind in Italy,\" he said with great pride. \"Three of the books are _incunabula_ , printed before 1501,\" he explained, for the benefit of Pier", "o. Cenni lingered over one of the three manuscripts, admiring its binding, which appeared to be original, until rather vigorously nudged by the count toward a different display case.\n\n\"As a jurist, I'm sure you'll find these books of more interest, Dottore,\" he said in a surprisingly affable tone, even including Piero in its circle of warmth. \"They're the original case histories of the Venetian schism. They were presented to Umberto Casati, my ancestor, when he was made Count Palantine", "in October 1607 by Pope Paul V—Camillo Borghese—in gratitude for legal services rendered to the Roman Curia. I'm a descendent of the Borghese family on both sides of my family,\" he added proudly. \"The Pope and the first Count Casati, my namesake, were second cousins. They studied jurisprudence together in Perugia, even played together as children,\" he said, unable to contain his enthusiasm for family namedropping. \"It's not widely acknowledged by historians, but the first Count Casati", "effected the compromise between Rome and the Venetian Republic, saving Venice from the grip of Protestantism.\"\n\n\"Helped, no doubt, by the good offices of the other principals, France and Spain,\" Cenni said with gentle asperity.\n\nNot bothered by the suggestion that his eminent ancestor may have had substantial help in bringing Venice back into the Catholic fold, the count responded in kind. \"With the _terribile_ _frate_ , Paolo Sarpi, as one's adversary, even the help of France and Spain would", "not always have been sufficient.\"\n\nCenni laughed at the reference to the friar who had defied Rome and the Borghese Pope and, recalling to mind the wording of the self-serving non-compromise, said, \"The Republic agrees _to conduct itself with its accustomed piety_.\"\n\n\"As the Republic is still doing,\" the count rejoined.\n\nWhen they'd stopped laughing at the allusion to the luxurious, licentious, and always refractory Venetian Republic, the count remarked on the commissario'", "s obvious knowledge of church law.\n\n\"I studied church law at the University of Bologna,\" Cenni replied, which drew them deeper into a discussion of the relative merits of the combatants of 1600, with Cenni arguing the case of the Venetian Republic, that the clergy were not exempt from the jurisdiction of the civil courts, which position, as he reminded the count, was now codified in Italian law.\n\nTheir lively but friendly discussion helped to blunt some of the antagonism that had been building between them, and C", "enni hoped the uneasy peace would last, at least until the family interviews were over. Somehow he doubted it. The noticeable absence of a computer in the library, which also served as the count's office, coupled with the count's fixation on his family's history and eminence, suggested a man who, if given the choice, would have preferred to live in a less democratic age, one in which policemen lacked the temerity to come calling on counts with warrants in hand.\n\nIt crossed Cenni's mind that Umberto Cas", "ati might be heir to more than Borghese manuscripts. In October 1607, the same year and month that Camillo Borghese, the then Pope, had deeded the Venetian manuscripts to his first cousin, five assailants from Rome had attacked Friar Sarpi at dusk along a Venetian canal for his temerity in challenging the Pope's interdict—and winning. As Umberto Casati, the seventeenth Count, had just assiduously pointed out, he was heir to a double-dose of Borghese genes", ".\n\nThe count, who was not privy to Cenni's thoughts on his ancestor's illustrious bad temper, proceeded with the tour. The layout of the upstairs, which was reached by a different staircase from the one that they had descended earlier to reach the kitchen, was identical to the rooms below, the hall also running front to back with two rooms on either side, each with its own bathroom. The count explained that they had added the bathrooms back in the 1970s when their children were approaching adolescence. The rooms—with", "the exception of the one that had been used by Rita Minelli and which was still occupied by the forensic police—were empty, their occupants presumably waiting below to be interviewed. Cenni was surprised, as he had been when he'd entered the family sitting room, to find that all the chambers, including the count's, were furnished for comfort rather than elegance: carpeted floors, large modern beds, good-looking wardrobes, and chests that were certainly not antiques. After looking at his wrist-watch, Cenni", "declined the count's invitation to visit the attic rooms, which the count explained \"are used by the family as storerooms and in the past housed servants,\" adding with a slight frown that \"servants in these days make their own hours and usually elect to live out.\"\n\nCenni had just turned to descend the stairs to begin his questioning of the family when he was stopped by Elena. \"Commissario, a minute please?\" She pulled him aside to show him the diary and file folder and to tell him the gist of Lucia's gossip:", "the existence of the boyfriend, the overheard argument between Rita Minelli and Artemisia Casati, the count's open dislike of his niece. She smiled when she told him of Lucia's gaffe about the diaries. \"Probably the reason Minelli locked her door and made her own bed!\"\n\nCenni responded absentmindedly, still thinking about the count's fixation on his Borghese ancestors. A good dose of insanity there as well, Cenni recollected.\n\n\" _Certo_ ,", "Elena. Piero and I will be busy here for another two hours questioning the family. Call Perugia to see if they've received any responses to my earlier inquiries regarding the family's finances, and see if you can locate the boyfriend. I'd like to get his statement today, as soon as we're finished here.\" When he'd issued his orders, he realized from the strained look on Elena's face that she was waiting for a sign that he'd forgiven her earlier lapse. He knew how much she disliked using her sex to gain", "the confidence of other women, yet she'd done so with Lucia, and very successfully too. He said, this time with considerably more warmth, \"I'd like you to peruse Minelli's diary and her other papers. Call me at home tonight or tomorrow if you find anything crucial; otherwise write down the salient points so I can review them on Monday morning.\" He hesitated for a moment. \"And see what she has to say about the men in her life. Batori claims she was pregnant. Two months, maybe more.\"\n\nShe responded pla", "intively, \"But what about tomorrow! Don't you want me to help Piero?\"\n\n\"I don't think so, Elena. We'll manage. No point in ruining everyone's Easter.\"\n\nElena watched as he descended the stairs and wondered why men are always nice to women in just the wrong way.\n\n**13**\n\nAMELIA CASATI WAS at a disadvantage whenever there was a major crisis in her household. Her passport identified her as Italian but in all other respects, root and branch,", "she was thoroughly English. Whatever the circumstances—illness, death, or a fallen soufflé—she maintained an outward demeanor of calm and civility. When her only son and the person she had loved most in the world died at nineteen, she had retired to her bedroom to mourn in private. That need for privacy had greatly disconcerted Anna, her mother-in-law, who had expected some outward show of the grief that they all shared. Anna, with eyes swollen and red behind black veil and dark glasses, was the one who had", "fainted on the day of the funeral, falling on Camillo's coffin; Amelia was the one who had revived her. So, it came as a surprise to them all, herself included, when she completely fell apart after hearing the news of her niece's murder.\n\nThe news had come that morning, shortly after 8:30, in a telephone call from Fulvio Russo of the Assisi police. Amelia was sleeping in after a late and tedious dinner with family and close friends at one of Assisi's notable restaurants. All except Amelia", "were smokers, and the private room they had reserved was close and airless. They had arrived home shortly after midnight, she with a splitting headache and Umberto still complaining of Rita's lack of courtesy in missing the dinner without a word to anyone. It was not that he regretted her absence—quite the contrary. But his dislike of Rita took the form of petty indictments of whatever she did or said: She spoke English with a Brooklyn accent, she used Neapolitan slang when speaking Italian (it had happened only once), she had", "taken over his mother's rooms without asking, and so forth.\n\nAmelia had finally snapped as they were getting ready for bed. \"You never consider anyone but yourself,\" she'd thrown at him. \"I'm the one who has to act as peacemaker between the two of you. And in this family, peacemakers are not blessed! It's constant tension, waiting to see what she'll do to annoy you and then what you'll do to retaliate. Can't you let anything go? She told me only yesterday that she's", "planning to marry John Williams. When that happens she'll have to find another place to live. Please try to keep the peace until then.\"\n\nHe had brightened up considerably after that. She could hear him singing show tunes in the bathroom and when they turned the lights out, he'd kissed her firmly on the mouth and immediately fallen asleep. She lay awake for another hour, listening to him snore.\n\nAfter Amelia's collapse, Umberto had called their doctor, who had come immediately and given her a sedative, with the promise that she'd feel better", "in a short while. But she didn't feel better. She was consumed by guilt. From the day that Rita had arrived in Assisi, Umberto and Artemisia, even the servants, had treated her niece as an outsider, a scavenging bird pecking off scraps from the Casati name. When Rita was not around—and sometimes even when she was—Artemisia ridiculed her. She laughed at Rita's hair, her clothes, her thick eyebrows, and even her piety. When Rita started dress", "ing and wearing her hair like Artemisia, Artemisia had grown crueler, calling her _la Americana grottesca_.\n\nAmelia blamed herself. She had not been a perfect mother. Camillo had been such a beautiful child, with flaxen curls and large blue eyes—so like her own dear father, always kind to everyone. And when he laughed, it was infectious. They all laughed with him. He was her golden child, filling those parts of her that until his birth had been empty. She would have been content with Camillo, but Umberto", "had wanted two children. Artemisia had been born three years later. It had been a difficult pregnancy and Artemisia proved to be a difficult child. Amelia had been sick the full nine months that she carried Artemisia, and Artemisia had been sick another nine months with colic. Where Camillo had taken after Amelia's English family in looks, Artemisia was wholly Italian. As an adult, she had an arresting, almost disturbing beauty. As a child, she had looked and acted like a gnome. Possessive and greedy,", "she'd had temper tantrums whenever Amelia had denied her anything. Only Marie, their housekeeper, could manage Artemisia and, as Amelia now acknowledged to herself, love her.\n\nRita had also grown up without a mother's love. Amelia had met Umberto's sister only once, forty years earlier, when she had returned to Italy with the five-year-old Rita in tow. Newly married and passionately in love with Umberto, Amelia had wanted very much to be friends with her husband's only sister, but try as she might she", "had found Livia impossible to like. Her sister-in-law had all of her brother's faults and none of his virtues. She was arrogant, inconsiderate, physically vain, and to the distress of the entire household, a hypochondriac. Livia and Rita lived with them for one year, and during most of that time, Livia fancied herself ill with whatever disease was prominent at the time. She'd lain in bed until noon, smoked incessantly, and alienated the servants with her relentless demands.", "During that year she'd left the care of Rita to Amelia and Anna.\n\nLittle Rita was always underfoot, though what in later life would be considered officious, in childhood was endearing. She followed the housekeeper about with a duster in hand, offering to clean the bric-a-brac. She sat with her grandmother for hours holding her wool while Anna knitted, chattering away about her dolls. If permitted, she would fetch and carry for hours without complaint: Umberto's glasses, Amelia's book, her grand", "mother's rosary beads. At the end of a year, Salvatore Minelli arrived in Italy to take Livia and Rita home to Brooklyn. What Amelia didn't find out until much later was that Umberto had paid for the trip.\n\nAnd now Rita was dead, murdered, and Amelia felt a profound sadness, in some ways even beyond what she'd felt when Camillo had died. He had been only nineteen, but he had lived as though there were no tomorrows—five broken bones before he was fifteen! He had skied", "in Cortina, hang glided off Mount Subasio, driven cars with abandon, had a child when he was eighteen, defying his father and everyone else to practice his own beliefs. But Rita was just beginning. . . .\n\nA soft knock on the door roused her to control herself— for Umberto's sake, she thought. It was Lucia, who looked guiltily around the door. \" _Scusi_ , Countess, but the police have arrived. The count asks if you're feeling any better. The police want to talk to everyone in the house", ". The count asks if you'll come down, or should he bring them up?\" she asked, her barely repressed excitement apparent from the high pitch of her voice.\n\n\"No, I'll come down, Lucia. Please tell the count that I'll be with him in fifteen minutes.\"\n\n**14**\n\nWHEN CENNI OPENED the sitting room door, five women looked up expectantly, each as different in appearance as possible in a country as homogeneous as Italy. The count, who followed immediately behind him, made the introductions: his wife Amelia,", "his daughter Artemisia—who acknowledged their previous meeting with a slight nod of recognition—his granddaughter Paola, their maid Lucia Stampoli, and their cook Concetta Di Gennari—the last a jolly-looking fat woman and the only one to smile. And such a smile! Wide and happy, it gleamed with gold.\n\nAt Amelia Casati's request, Cenni interviewed the cook first. It seemed that Concetta had made special arrangements so that she could come in to prepare their Easter dinner. Normally she had Satur", "days off and worked Sundays, but tomorrow was Easter. It was now almost three, and she had two young children at home who needed her attention. At the count's insistence, the interviews took place in the library, with two additional chairs brought in to accommodate Piero and the person to be interviewed, although as Cenni later conceded to Piero, with Concetta he did more listening than interviewing.\n\nCenni had concluded years earlier that people's dispositions, like most things in life, exist in a continuum. A small number of people by nature", "are always unhappy; an even smaller number are always happy; and the rest occupy the great in between—with some tears, some laughter, and much tedium. Concetta was on the extreme edge of the continuum. From the moment she sat down, she radiated happiness, her gold tooth always on display. The dead American, God rest her soul, was a wonderful woman; the Casatis were wonderful employers; her Tony was a wonderful husband; their two little girls were gifts from God. Even Lucia was wonderful, although it would be better if she rinsed the dishes before putting", "them into the dishwasher. Somehow, in among the wonderfuls, she revealed that she rarely ventured out of the Casati kitchen into other parts of the house. She worked six days a week, from ten to four, and had little contact with the family beyond the countess who paid her salary every week. She prepared their midday meal, three courses and a sweet, which was served by Lucia in the dining room at one o'clock. She also prepared dinner, which was usually something light, cold meat and a salad or a casserole. Lucia or", "the countess would heat what she'd prepared in the microwave. The family usually dined at seven, eating in the kitchen. As Lucia finished at seven, the countess would put the dirty dishes in the dishwasher. If there were any heavy pots to clean, Concetta did them when she came to work the next day. She never cooked for them on Good Friday—they always ate out.\n\nSignora Minelli had eaten with the family when she'd first come to Assisi but had stopped some time ago. Concetta couldn't remember exactly", "when and didn't know why. The countess would probably know. The _Americana_ was very health-conscious and ate lots of fruit and yogurt, which she kept in the refrigerator. Sometimes they would talk together when she came into the kitchen. They were both devoted to St. Rita. She explained, \"Giulia, she's my baby. She's two now and very healthy.\" She beamed: \"And very beautiful! But when she was born, we thought we'd lose her—four months premature and so tiny, less than four pounds", ". Tony—he's my husband— and me, we made a pilgrimage to Cascia, to pray to St. Rita. Now we go regularly, to say thank you, the last Saturday in every month. We made a sacred promise!\n\n\"The last time, two Saturdays ago, we saw Signora Minelli and Signorina Paola sitting together in a café near St. Rita's Basilica. I wanted to stop and talk, but Tony said they looked very serious. He said I shouldn't bother them. We both thought that Signorina Paola", "had been crying.\"\n\nShe paused, and Cenni thought she wanted to say something more. \"Is there something else?\"\n\n\"I was surprised to see Signorina Paola there. Lucia says the Signorina's a communist, and everyone knows that communists don't believe in saints.\" She sighed. \"Lucia is a terrible gossip and doesn't always tell the truth.\" Cenni suspected that if Concetta's happiness had an Achilles heel, it might well be Lucia.\n\n**15**\n\nAMELI", "A CASATI WAS so different from her husband in manner and appearance that they could have been the poster couple for the questionable truism that opposites attract. Where he was tall and distinguished, she was short and plain; where he bullied, she acquiesced; his arrogance was countered by her diffidence. Unlike the count, who had managed for the most part to ignore Piero and his substantial presence, she acknowledged both detectives with a weak smile before taking her seat. Her blotched face and pink-rimmed eyes suggested to Cenni that at least one", "person in the Casati family had experienced some pain at the news of Rita Minelli's murder.\n\nCenni began by offering his condolences on the death of her niece. \"I understand from your husband that you're under the care of your doctor. Inspector Tonni and I will have you out of here in no time. Just a few routine questions.\" At his last statement, she looked down at her fingers, still noticeably ink-stained from recent fingerprinting, her gesture a silent reproach.\n\nCenni responded by explaining that the police needed", "to distinguish between prints expected to be found in the burial vault—those of the Casati family—and prints of people who could not be accounted for. He then asked her to describe her previous day's activities with an approximate timetable.\n\nShe told him that she'd been to her doctor in Perugia in the morning—a routine checkup—and had returned a few minutes before one o'clock. She had lunch with the family in the dining room, finishing at 1:45. Immediately after that, she had gone to the garden room, located", "at the back of the family sitting room, where she had arranged some flowers that had been delivered while they were eating. At around two o'clock, she'd carried the arrangement, a bowl of yellow roses, into the hall and had seen Rita letting herself out the front door. For the remainder of the day, until six o'clock, when she retired to her room to bathe and dress for the evening, she had been in the sitting room, writing letters and reading. The doors had been closed to retain the heat and no one had come in during that time. She also told Cenni", "that she had not been near the cemetery since the previous Sunday, her usual day to visit, and that she had no idea who could have murdered her niece, although she did suggest that the motive may have been robbery. When he'd questioned her further in this regard, she indicated that her niece frequently carried large sums of money on her, a habit she'd tried to discourage but without success.\n\nCenni found her surprisingly unemotional in recounting her activities on the day of the murder. Umberto Casati had said that his wife was cr", "ushed by the news of her niece's death, that she had been so traumatized, her doctor had given her a sedative and had suggested that they not tell her of the rape. Yet, in reciting her timetable, she was composed, articulate, and precise. Rehearsed, he wondered, or just a reflection of the punctilio that Italians find so irritating in the English. If her account was rehearsed, it didn't unduly concern him. Most people have an atavistic fear of the police—the innocent", "as well as the guilty—and most people, if handed the gift of time, which Russo had allowed the Casati family, are likely to prepare their statements in advance.\n\nEarly in his career, Cenni had learned the hard way that the successful interrogation of suspects is a balance of thesis and antithesis. You ask the expected questions to gain their confidence, then counter with the unexpected to confound and intimidate. In one of his early murder investigations more than twelve years earlier—the brutal maiming and killing of a five-year-old child—", "one of the suspects, a gentle motherly woman in her late sixties, had answered all of his questions with assurance, prefacing each response with a gentle smile and a _mio figlio_. He couldn't believe that she might be the killer and had shown great sensitivity in framing his questions. She had gone on to kill again, another child, even younger than the first. The face of the second child, slashed beyond recognition, had haunted him for years. He still lived with that failure and the knowledge that no one is exempt from suspicion.\n\nCenni", "said, \"Some of our questions may be painful, and for that I apologize, but the answers are important. They could help us find your niece's murderer. We've been told that she was an American, that she came to Assisi in June to bury her mother, but that's all we know. It would be helpful if you could tell us more—why did she stay on in Assisi, what was she like. I would like to understand her better.\" She surprised him by responding immediately, without further prompting and in some detail. Like day and night, he thought", ", remembering Sophie Orlic's minimal responses.\n\n\"She was the daughter of the count's sister, Livia, who died in June. Livia was seven years older than Umberto. They were never close,\" she added, stressing this point. \"After the war Livia married an American soldier who had been stationed in Perugia. They went to live in the United States, in Brooklyn. When Livia died in June, Rita called to ask if she could bury her mother in the family vault. She said her mother's last wish was to return to Ass", "isi.\" She hesitated for a moment before continuing. \"I don't believe Livia ever adjusted to living in the United States or to her lack of social status there. Her husband's grandparents were immigrants from Naples,\" she added with a wry smile. A snob but a gracious one, Cenni thought, as Amelia continued.\n\n\"The Casati family was of some importance in Umbria before the war and Livia was overindulged by her father until his death—at least that's my husband's perception,\" she added,", "smiling shyly. \"I only got to know Livia when she returned to Assisi with Rita and stayed with us for a year. Rita was five at the time.\" She hesitated for a moment as though weighing what to say next, her eyes meeting his gaze with a surprising steadiness \"In Italy it's considered bad luck to speak ill of the dead; in England we're less superstitious,\" she said apologetically before continuing. \"Livia was a bad mother. I can't remember her ever hugging or kissing Rita or acknowled", "ging the child in any way, beyond using her to run errands: 'Rita, _cara mia_ , run upstairs and get my cigarettes,' was her usual request. I can imagine if she used a five-year-old that way, how she must have used Rita as she grew older and became less endearing. We all do grow less endearing,\" she added somewhat sadly.\n\n\"You're probably wondering why I'm telling you all this about Livia, but I think it's important if you're to understand what Rita was like.\"", "She paused for a brief moment, unwinding the lace-edged handkerchief that she had twisted into a ball so she could blow her nose, an action that Cenni found both surprising and appealing from a woman of such dignity.\n\n\"My niece spent most of her life caring for her mother. From what Rita told me, she had no life beyond her mother after her father died. She was eighteen at the time. She taught English in a secondary school in Brooklyn, returning home in the evenings to get her mother's dinner and to clean house. Liv", "ia didn't trust anyone and refused to hire anyone to help in the house. To Livia, all outsiders were _stranieri_.\n\n\"We each have different ways of reacting to rejection and abuse. Rita's reaction was probably the healthiest for society, although perhaps not for herself. She tried harder to be loved, assuming, as most children do, that it was her fault that she was not. She was always offering help and advice—often to complete strangers—unfortunately, even when the help was clearly not needed . . . or wanted.\" She stopped and", "looked at him directly.\n\nShe hesitated a moment before going on. \"I think, Dottore, that you should know this, since you'll probably hear it from others. . . . The count didn't like Rita. It was her officiousness that irritated him the most. He's a very private man and he doesn't understand people who infringe on the privacy of others. I'm not making excuses for him. At times he was very unkind to Rita, but I do understand why—she was something of a busybody—always,", "of course, with the best intentions!\" Her last remark, ironic and resentful, surprised Cenni. Until then he would have said that Amelia Casati had both liked and felt sorry for her niece. Now he was not so sure.\n\n\"You said she arrived in June to bury her mother but this is now March. Why was she still here?\"\n\n\"Well, when Rita called to ask if she could bring her mother to Assisi to be buried, Umberto agreed immediately. But he assumed—actually, we both assumed—that she would stay a few weeks,", "then return to Brooklyn and her job. In August, she told us that she had resigned her teaching position before she'd even left Brooklyn. She said she had retired, that she was planning to settle in Assisi!\"\n\n\"Retired?\" Cenni interrupted. \"She was young to be thinking of retirement. What was she planning to live on? Did she have money?\"\n\n\"Under normal circumstances I would never inquire about someone's finances, but I did ask Rita. Needless to say, we were all very surprised by her announcement.\"\n\n\"And", "her response?\" Cenni asked.\n\n\"She said there was a pension which she was entitled to claim in a few years. She had also sold the house in Brooklyn for close to a quarter of a million dollars. When Umberto's mother died a few years ago, Livia inherited half her estate. I assume, although I can't say for sure, that Livia left that money to her daughter, a considerable sum. Since July, Rita's been teaching at our school, though only two classes a week. We pay . . . paid her what we pay our other teachers—th", "irteen euros an hour—but I doubt that even a month's salary would buy one of the outfits I've seen her wearing lately.\"\n\n\"This money—her money—do you have any idea who she's left it to?\"\n\n\"That's hardly something I could . . . or would ask. She had an Aunt Marie, her father's sister, and a younger cousin. She mentioned them both once or twice but not with affection. I know she had an attorney in New York. She spoke of him when she discussed the sale of the house", ".\" She hesitated with a derisive smile on her face. \"You probably know more about that than I do, Dottore!—Lucia told me that your officers found some papers in my niece's room and took them away.\" _And_ _without my permission_ was left unspoken but clearly intended.\n\n\"Her teaching job at the _Academia_? How did that come about?\" Cenni asked, ignoring the barely disguised rebuke.\n\n\"As it happened, one of our teachers, a woman from Liverpool, decided to return home in", "July without giving notice. We had an intensive English class scheduled to start in mid-July with ten students already signed up. Rita volunteered to teach it, and I suggested to Umberto that we let her. That was before we knew that she had no intention of returning to the States. Rita had great staying power!\" The last, uttered more to herself than to him, held an undertone of bitterness beyond the ordinary displeasure a host feels when a guest overstays her leave. Cenni decided to probe further.\n\n\"Am I correct in understanding that the school", "is owned and run by your husband?\"\n\n\"After the war Umberto and his mother had a very difficult time; Anna had no money. Her husband had foolishly invested all their fluid assets in state bonds. And then, shortly afterward, in 1943, he was killed by a bomb. My husband's father had been a prominent member of the Fascist party and a great friend of _Il Duce_ , a matter of public record,\" she added in explanation, when Inspector Tonni looked up in surprise from his note taking.\n\n\"After the war Anna", "was ostracized by the very people who had asked the count for endless favors when the _fascista_ were in power. She discovered, as we all do in the end, that loyalty is a virtue of selfinterest. Unfortunately, this was true of her daughter as well as her friends. As soon as Livia saw the hard times coming, she managed to get out by marrying an American. Anna was left with the house, a few antiques, a fifteen-year-old son to be educated, and the manuscripts: of great value now; back then, most people would have"], "context": "", "task": "lrlm", "teacher_scores": [-2.359375, -2.28125, -2.265625, -2.234375, -2.25, -2.25, -2.28125, -2.3125, -2.390625, -2.328125, -2.296875, -2.34375, -2.375, -2.40625, -2.40625, -2.390625, -2.3125, -2.328125, -2.25, -2.1875, -2.359375, -2.328125, -2.296875, -2.25, -2.21875, -2.296875, -2.328125, -2.34375, -2.171875, -2.21875, -2.28125, -2.3125, -2.328125, -2.390625, -2.375, -2.328125, -2.296875, -2.328125, -2.4375, -2.390625, -2.375, -2.359375, -2.390625, -2.40625, -2.359375, -2.375, -2.375, -2.359375, -2.375, -2.328125, -2.28125, -2.328125, -2.296875, -2.296875, -2.3125, -2.28125, -2.375, -2.34375, -2.28125, -2.3125, -2.34375, -2.359375, -2.34375, -2.375]}
{"query_id": 11209, "query": "Because the meta element provides additional information about your web page, you have to place it inside the head element section of the HTML code.\n\nThe meta element uses the single-sided `<meta>` tag. To specify the character set in HTML5 you use the following format:\n\n`<meta charset=\"UTF-8\">`\n\nIf your HTML code requires a different character set, you specify it here.\n\n  The `<meta>` tag allows you to specify other features of your web page to the browser so that it knows how to process the body of the web page, and identify the content of the web", "answers": ["page to servers that automatically scan your web pages for search engines. I talk some more about the `<meta>` tag in Book 4, Chapter 4.\n\n### Special characters\n\nThe UTF-8 character set supports lots of fancy characters that you won't find on your keyboard, such as the copyright symbol (©), the cent symbol (¢), and the degree symbol (°). These are commonly referred to as _special characters._\n\nYou can use special characters in your web page content because they're valid UTF-8 characters. You just need to use a different way of specifying them. Ins"], "pos": [], "neg": ["debug your code as you run it in the Eclipse editor window. Figure 3-16 demonstrates Eclipse pointing out a PHP coding error I made in my code.\n\nFIGURE 3-16: The PHP debugger in action in Eclipse.\n\nHaving an advanced PHP debugger at your fingertips can be a great time-saver when you're developing large applications!\n\n### Browser debuggers\n\nBefore I finish this chapter, I want to mention one more tool that you have available when trying to troubleshoot web application issues. Most browsers today have a code-debugging feature", "either built in or easily installable. The browser debuggers can help you troubleshoot HTML, CSS, and JavaScript issues in the web page you send to the client. Figure 3-17 shows the debugging console in the Microsoft Edge web browser after you press F12 to activate it.\n\nFIGURE 3-17: The Microsoft Edge web browser debugging a web page.\n\nBrowser debuggers can show you exactly where something has gone wrong in the HTML or CSS code. They're also invaluable when working with JavaScript applications.\n\nWhen you're developing web applications, it'", "s crucial that you test, do some more testing, and then test again. Testing your application in every possible way your website visitors will use it is the only way to know just what to expect.\n\nThings are getting better, but different browsers still may handle HTML, CSS, and even JavaScript code differently. Nowhere is this more evident than when errors occur.\n\nWhen an error occurs in HTML or CSS code, the browser doesn't display any type of error message. Instead, it tries to fix the problem on its own so it can display the web page. Unfortunately, not all browsers fix code the", "same way. If you run into a situation where your web page looks different on two different browsers, most likely you have some type of HTML or CSS code issue that the browsers are interpreting differently.\nBook 2\n\n# HTML5 and CSS3\n\n## Contents at a Glance\n\n  1. Chapter 1: The Basics of HTML5 \n    1. Diving into Document Structure\n    2. Looking at the Basic HTML5 Elements\n    3. Marking Your Text\n    4. Working with Characters\n    5. Making a List (And Checking It", "Twice)\n    6. Building Tables\n  2. Chapter 2: The Basics of CSS3 \n    1. Understanding Styles\n    2. Styling Text\n    3. Working with the Box Model\n    4. Styling Tables\n    5. Positioning Elements\n  3. Chapter 3: HTML5 Forms \n    1. Understanding HTML5 Forms\n    2. Using Input Fields\n    3. Adding a Text Area\n    4. Using Drop-Down Lists\n    5. Enhancing HTML5 Forms\n", "   6. Using HTML5 Data Validation\n  4. Chapter 4: Advanced CSS3 \n    1. Rounding Your Corners\n    2. Using Border Images\n    3. Looking at the CSS3 Colors\n    4. Playing with Color Gradients\n    5. Adding Shadows\n    6. Creating Fonts\n    7. Handling Media Queries\n  5. Chapter 5: HTML5 and Multimedia \n    1. Working with Images\n    2. Playing Audio\n    3. Watching Videos\n    4. Getting Help from Streamers\n\n", "Chapter 1\n\n# The Basics of HTML5\n\nIN THIS CHAPTER\n\n  **Looking at the HTML5 document structure**\n\n  **Identifying the basic HTML5 elements**\n\n  **Formatting text**\n\n  **Using special characters**\n\n  **Creating lists**\n\n  **Working with tables**\n\nThe core of your web application is the HTML5 code you create to present the content to your site visitors. You need an understanding of how HTML5 works and how to use it to best present your information. This chapter describes the basics of", "HTML5 and demonstrates how to use it to create web pages.\n\n## Diving into Document Structure\n\nThe HTML5 standard defines a specific structure that you must follow when defining your web pages so that they appear the same way in all browsers. This structure includes not only the markups that you use to tell browsers how to display your web page content, but also some overhead information you need to provide to the browser. This section explains the overall structure of an HTML5 program, and tells you what you need to include to ensure your clients' browsers know how to work with your web pages correctly.\n\n###", "Elements, tags, and attributes\n\nAn HTML5 document consists of one or more elements. An _element_ is any object contained within your web page. That can be headings, paragraphs of text, form fields, or even multimedia clips. Your browser works with each element individually, positioning it in the browser window and styling it as directed.\n\nYou define elements in your web page by using tags. A _tag_ identifies the type of element so the browser knows just how to handle the content it contains. The HTML5 specification defines two types of elements:\n\n  * **Two-", "sided elements:** Two-sided elements are the more common type of element. A two-sided element contains two parts: an _opening tag_ and a _closing tag._ The syntax for a two-sided element looks like this:\n\n`<element>content</element>`\n\nThe first element tag is the opening tag. It contains the element name, surrounded by the less-than symbol (`<`) and greater-than symbol (`>`), and defines the start of the element definition.\n\nThe second tag is the closing tag; it defines the end of the element definition. It", "points to the same element name, but the name is preceded by a forward slash (`/`). The browser should handle any content between the two tags as part of the element content. For example, the HTML5 `h1` element defines a heading like this:\n\n`<h1>This is a heading</h1>`\n\nThe element instructs the browser to display the text _This is a heading_ using the font and size appropriate for a heading on the web page. It's up to the browser to determine just how to do that.\n\n  * **One-sided elements:**", "One-sided elements don't contain any content and usually define some type of directive for the browser to take in the web page. For example, the line break element instructs the browser to start a new line in the web page:\n\n`<br>`\n\nBecause there's no content, there's no need for a closing tag.\n\n  The older XHTML standard requires that one-sided tags include a closing forward slash character at the end of the tag, such as `<br/>`. This isn't required by HTML5, but it's supported for backward compatibility.", "It's very common to still see that format used in HTML5 code.\n\nBesides the basic element definition, many elements also allow you to define attributes to apply to the element. _Attributes_ provide further instructions to the browser on how to handle the content contained within the element. When you define an attribute for an element, you must also assign it a _value._\n\nYou include attributes and their values inside the opening tag of the element, like this:\n\n`< _element attribute_ =\" _value_ \"> _content_ </ _element_ >`\n\nYou can define more than one", "attribute/value pair for the element. Just separate them using a space in the opening tag:\n\n`< _element attribute1_ =\" _value1_ \" _attribute2_ =\" _value2_ \">`\n\nAttributes are commonly used to apply inline styles to elements:\n\n`<h1 style=\"color: red\">Warning!!</h1>`\n\nThe `style` attribute shown here defines additional styles the browser should apply to the content inside the element. In this example, the browser will change the font color of the text to red.\n\n### Document type\n\nEvery web page must", "follow an HTML or XHTML document standard so the browser can parse it correctly. The very first element in the web page code is the markup language standard your document follows. This element, called the _document type,_ is crucial, because the browser has to know what standard to follow when parsing the code in your web page.\n\nYou define the document type using the `<!DOCTYPE>` tag. It contains one or more attributes that define the markup language standard. Prior versions of HTML used a very complicated format for the document type definition, pointing the browser to a web page on the Internet that contained the standard definition.\n\n", "Fortunately, the HTML5 standard reduced that complexity. To define an HTML5 document, you just need to include the following line:\n\n`<!DOCTYPE html>`\n\nWhen the browser sees this line at the start of your web page code, it knows to parse the elements using the HTML5 standard.\n\n  If you omit the `<!DOCTYPE>` tag, the browser will still attempt to parse and process the markup code. However, because the browser won't know exactly which standard to follow, it follows a practice known as _quirks mode._ In quirks mode, the browser follows the", "original version of the HTML standard, so newer elements won't be rendered correctly.\n\n### Page definition\n\nTo create an HTML5 web page, you just define the different elements that appear on the page. The elements fit together as part of a hierarchy of elements. Some elements define the different sections of the web page, and other elements contained within those sections define content.\n\nThe _html element_ is at the top of the hierarchy. It defines the start of the entire web page. All the other elements contained within the web page should appear between the `<html>` opening and `</html>` closing tags:", "\n\n`<!DOCTYPE html>`\n\n`<html>`\n\n`_web page content_`\n\n`</html>`\n\nMost Web pages define at least two second-level elements, the head and the body:\n\n`<html>`\n\n`<head>`\n\n`_head content_`\n\n`</head>`\n\n`<body>`\n\n`_body content_`\n\n`</body>`\n\n`</html>`\n\nThe _head element_ contains information about your web page for the browser. Content contained within the head element doesn't", "appear on the web page, but it directs things behind the scenes, such as any files the browser needs to load in order to properly display the web page or any programs the browser needs to run when it loads the web page.\n\nOne element that's commonly found in the head element content is the title, which defines the title of your web page:\n\n`<head>`\n\n`<title>My First Web Page</title> `\n\n`</head>`\n\nThe web page title isn't part of the actual web page, but it usually appears in the browser's title bar at", "the top of the browser window or in the window tab if the browser supports tabbed browsing.\n\nThe _body element_ contains the elements that appear in the web page. This is where you define the content that you want your site visitors to see. The body element should always appear after the head element in the page definition. It's also important to close the body element before closing out the html element.\n\nFollow these steps to create and test your first web page:\n\n  1. **Open the editor, program editor, or integrated development environment (IDE) package of your choice.**\n\n", "See Book 1, Chapter 3, for ideas on which tool to use.\n\n  2. **Enter the following code into the editor window:**\n\n`<!DOCTYPE html>`\n\n`<html>`\n\n`<head>`\n\n`<title>My First Web Page</title> `\n\n`</head>`\n\n`<body>`\n\n`This is text inside the web page.`\n\n`</body>`\n\n`</html>`\n\n  3. **Save the code to the** `DocumentRoot` **folder of your web server, naming it**", "`mytest.html` **.**\n\nIf you're using the XAMPP server in Windows, the folder is `c:\\xampp\\htdocs`. For macOS, it's `/Applications/xampp/htdocs`.\n\n  4. **Start the XAMPP servers.**\n  5. **Open the browser of your choice, and enter the following URL:**\n\n`http://localhost:8080/mytest.html`\n\nNote that you may need to change the 8080 port number specified in the URL to match", "your XAMPP Apache server set up (see Book 1, Chapter 2). Figure 1-1 shows the web page that this code produces.\n\nFIGURE 1-1: The output for the sample web page.\n\nThe head element defines the web page title, which as shown in Figure 1-1, appears in the web browser title bar. The body element contains a single line of text, which the browser renders inside the browser window area.\n\n  You may notice that other than the special `<!DOCTYPE>` tag, all the other HTML tags I used are in lowercase.", "HTML5 ignores the case of element tags, so you can use uppercase, lowercase, or any combination of the two for the element names in the tags. The older XHTML standard requires all lowercase tags, so many web developers have gotten into the habit of using lowercase for tags, and more often than not, you'll still see HTML5 code use all lowercase tag names.\n\n### Page sections\n\nWeb pages these days aren't just long pages of content. They contain some type of formatting that lays out the content in different sections, similar to how a newspaper presents articles.", "In a newspaper, usually there are two or more columns of content, with each column containing one or more separate articles.\n\nIn the old days, trying to create this type of layout using HTML was somewhat of a challenge. Fortunately, the HTML5 standard defines some basic elements that make it easier to break up our web pages into sections. Table 1-1 lists the HTML5 elements that you use to define sections of your web page.\n\nTABLE 1-1 HTML5 Section Elements\n\n**Element** | **Description**\n\n---|---\n\n`article` | A subsection of", "text contained within a section\n\n`aside` | Content related to the main article, but placed alongside to provide additional information\n\n`div` | A grouping of similarly styled content within an article\n\n`footer` | Content that appears at the bottom of the web page\n\n`header` | Content that appears at the top of the web page\n\n`nav` | A navigation area allowing site visitors to easily find other pages or related websites\n\n`section` | A top-level grouping of articles\n\n  Although HTML5 defines the sections, it doesn't define how the browser should place them", "in the web page. That part is left up to CSS styling, which I talk about in Chapter 2 of this minibook.\n\nWhen you combine the HTML5 section elements with the appropriate CSS3 styling, you can create just about any look and feel for your web pages that you want. Although there's no one standard, there are some basic rules that you can follow when positioning sections in the web page. Figure 1-2 shows one common layout that I'm sure you've seen used in many websites.\n\nFIGURE 1-2: A basic web page layout using", "HTML5 section elements.\n\nJust about every web page has a heading section at the top of the page that identifies it to site visitors. After that, a middle section is divided into three separate areas. On the left side is often a navigation section, providing links to other pages in the website. On the right side is often additional information or, in some cases, advertisements. In the middle of the middle section is the meat of the content you're presenting to your site visitors. Finally, at the bottom of the web page is a footer, often identifying the copyright information, as well as some", "basic contact information for the company.\n\nThe _div element_ is a holdout from previous versions of HTML. If you need to work with older versions of HTML, instead of using the named section elements, you need to use the `<div>` tag, along with the `id` attribute to define a specific name for the section:\n\n`<div id=\"header\">`\n\n`content for the heading`\n\n`</div>`\n\nThe CSS styles refer to the `id` attribute value to define the styles and positioning required for the section. You can still use this method in HTML5.", "Designers often use the div element to define subsections within articles that need special styling.\n\nNow that you know how to define different sections of the web page, the next section discusses how to add content to them.\n\n#   A WORD ABOUT WHITE SPACE\n\nQuite possibly the most confusing feature in HTML is how it uses white space. The term _white space_ refers to spaces, tabs, consecutive spaces, and line breaks within the HTML code.\n\nBy default, when a browser parses the HTML code, it ignores any white space between elements. So,", "these three formats all produce the same results:\n\n`<title>`\n\n`My First Web Page`\n\n`</title> `\n\n` `\n\n`<title>My First Web Page`\n\n`</title> `\n\n` `\n\n`<title>My First Web Page</title> `\n\n` `\n\nIt's completely up to you which format to use for your programs, but I recommend choosing a format and sticking to it. That'll make reading your code down the road easier, for you or anyone else.\n\n# COMMENTING", "YOUR CODE\n\nEvery programming language allows you to embed comments inside the code to help with documenting what's going on. HTML is no different. HTML allows you to insert text inside the HTML document that will be ignored by the browser as it parses the text.\n\nTo start a comment section in HTML, you use the following symbol:\n\n`<!--`\n\nYou can then enter as little or as much text as you need to properly document what's going on in your code. When the comment text is complete, you have to close the comment section using the following symbol:\n\n`", "-->`\n\nYou can place anything between the opening and closing comment tags, including HTML code, and the browser will ignore it. However, be careful what you say in your comments, because they can be read by anyone who downloads your web page!\n\n## Looking at the Basic HTML5 Elements\n\nAfter you define one or more sections in your web page, you're ready to start defining content. Adding content to a web page is sort of like working on a car assembly line. You define each piece of the web page separately, element by element. It's up to the browser to assemble the pieces", "to create the finished web page.\n\nThis section covers the main elements that you'll use to define content in your web page.\n\n### Headings\n\nNormally, each new section of content in a web page will use some type of heading to make it stand out. Research shows that the first thing site visitors usually do when visiting a web page is to scan the main headings on the page. If you can't attract their attention with your section headings, you may quickly lose them.\n\nHTML5 uses the _h element_ to define text for a heading. It defines six", "different levels of headings. Each heading level has a separate tag:\n\n`<h1>A level 1 heading</h1>`\n\n`<h2>A level 2 heading</h2>`\n\n`<h3>A level 3 heading</h3>`\n\n`<h4>A level 4 heading</h4>`\n\n`<h5>A level 5 heading</h5>`\n\n`<h6>A level 6 heading</h6>`\n\nAlthough there are six levels of headings in the HTML5 standard, most", "sites don't use more than two or three.\n\nThe client browser determines the font, style, and size of the text it uses for each heading level. Figure 1-3 shows how the Chrome web browser interprets the six levels of headings.\n\nFIGURE 1-3: Displaying all six heading levels in the Chrome web browser.\n\nThe browser displays each heading level with a decreasing font size. By the time you get to the sixth heading level, it's pretty hard to tell the difference between the heading and normal text on the web page!\n\n### Text group", "ings\n\nThere are several HTML5 elements that allow you to group text together into what are called _block-level elements_. The browser treats all of the content defined within the opening and closing tags of a block-level element as a single group. This allows you to use CSS to style or position the entire block of content as one piece, instead of having to style or position each element individually.\n\nYou can group headings together using a new feature in the HTML5 standard called a _heading group_ , using the _hgroup_ element:\n\n`<hgroup>`\n\n`<h1", ">This is the main heading.</h1>`\n\n`<h2>This is the subheading.</h2>`\n\n`</hgroup>`\n\nThe heading group doesn't change the h1 or h2 elements, but it provides a way for the browser to interpret the two headings as a single element for styling and positioning. This allows you to use CSS styles to format them as a single block so they blend together like a main heading and a subheading.\n\nA web page consisting of sentences just strung together is boring to read and won't attract very", "many site visitors (or may just put them to sleep). In print, we group sentences of common thoughts together into paragraphs. You do the same thing in your web page content by using the _p element:_\n\n`<p>This is one paragraph of text. The paragraph contains two sentences of content.</p> `\n\nNotice that the p element uses an opening tag (`<p>`) and a closing tag (`</p>`) to mark the beginning and end of the grouped text. The browser treats all the text inside the p element as a single element. When you group the content together,", "you can apply styles and positioning to the entire block.\n\nBe careful with the p element, though. The rules of white space that apply to HTML tags also apply to text inside the p element. The browser won't honor line breaks, tabs, or multiple spaces. So, if you have code like this:\n\n`<p>`\n\n`This is one line.`\n\n`This is another line.`\n\n`</p> `\n\nIt will appear in the web page like this:\n\n`This is one line. This is another line.`\n\nAll the extra spaces and the", "line break are removed from the content. Also, notice that the web browser adds a space between the two sentences.\n\nIf you want to preserve the formatting of the text in the web page, use the _pre element._ The pre element allows you to group preformatted text. The idea behind preformatted text is that it appears in the web page exactly as you enter it in the code file:\n\n`<pre>`\n\n`This is one line.`\n\n`This is another line.`\n\n`</pre>`\n\nThe browser will display the text in the web page exactly as it appears in", "the HTML5 code.\n\nYet another method of grouping text is the _blockquote element._ The blockquote element is often used to quote references within a paragraph. The browser will indent the text contained within the blockquote separate from the normal paragraph text:\n\n`<p>The only poem that I learned as a child was:</p> `\n\n`<blockquote>Roses are red, violets are blue. A face like yours, belongs in the zoo.</blockquote>`\n\n`<p>But that's probably not considered classic poetry.</p> `\n\nThis feature helps you embed any", "type of text within content, not just quotes.\n\n### Breaks\n\nBecause HTML doesn't recognize the newline character in text, there's a way to tell the browser to start a new line in the web page when you need it. The single-sided _br element_ forces a new line in the output:\n\n`<p>`\n\n`This is one line.`\n\n`<br>`\n\n`This is a second line.`\n\n`</p> `\n\nNow the output in the web page will appear as:\n\n`This is one line.`", "\n\n`This is a second line.`\n\nAnother handy break element is the _hr element._ It displays a horizontal line across the width of the web page section.\n\n`<h1>Section 1</h1>`\n\n`<p>This is the content of section 1.</p> `\n\n`<hr>`\n\n`<h1>Section 2</h2>`\n\n`<p>This is the content of section 2.</p> `\n\nThe horizontal line spans the entire width of the web page block that contains it, as shown", "in Figure 1-4.\n\nFIGURE 1-4: Using the hr element in a web page.\n\nSometimes that's a bit awkward, but you can control the width of the horizontal line a bit by enclosing it in a section and adding some CSS styling.\n\n## Marking Your Text\n\nThe opposite of block-level elements are _text-level elements._ Text-level elements allow you to apply styles to a section of content within a block. This section shows you the text-level elements you can apply to the content in your web page.\n\n##", "# Formatting text\n\nThe text-level elements apply predefined formats to text without the need for CSS styling. The most popular of the text-level elements are the _b_ and _i elements,_ which apply the bold and italic styles, respectively:\n\n`<p>I <i>wanted</i> the <b>large</b> drink size.</p> `\n\nText-level elements are also called _inline,_ because they appear in the same line as the content. You can embed text-level elements to apply more than one to the same text:\n\n", "`<p>I wanted the <b><i>large</i></b> drink size.</p> `\n\n  When applying two or more text-level elements to text, make sure you close the tags in the opposite order that you open them.\n\nHTML5 supports lots of different text-level elements for using different styles of text directly, without the help of CSS. Table 1-2 lists the text-level elements available in HTML5.\n\nTABLE 1-2 HTML5 Text-Level Elements\n\n**Element** | **Description**\n\n---|---\n\n`ab", "br` | Displays the text as an abbreviation\n\n`b` | Displays the text as boldface\n\n`cite` | Displays the text as a citation (often displayed as italic)\n\n`code` | Displays the text as program code (often displayed with a fixed-width font)\n\n`del` | Displays the text as deleted (often displayed with a strikethrough font)\n\n`dfn` | Displays the text as a definition term (often displayed as italic)\n\n`em` | Displays the text as emphas", "ized (often displayed as italic)\n\n`i` | Displays the text as italic\n\n`ins` | Displays the text as inserted (often displayed with an underline font)\n\n`kbd` | Displays the text as typed from a keyboard (often as a fixed-width font)\n\n`mark` | Displays the text as marked (often using highlighting)\n\n`q` | Displays the text as quoted (often using quotes)\n\n`samp` | Displays the text as sample program code (often displayed with a fixed", "font)\n\n`small` | Displays the text using a smaller font than normal\n\n`strong` | Displays the text as strongly emphasized (often using boldface)\n\n`sub` | Displays the text as subscripted\n\n`sup` | Displays the text as superscripted\n\n`time` | Displays the text as a date and time value\n\n`var` | Displays the text as a program variable (often using italic)\n\nAs you can see in Table 1-2, you have lots of options for formatting text without even", "having to write a single line of CSS code!\n\n### Using hypertext\n\nIn Book 1, Chapter 1, I mention that hyperlinks are the key to web pages. Hyperlinks are what tie all the individual web pages in your website together, allowing site visitors to jump from one page to another.\n\nThe element that creates a hyperlink is the _anchor_ text-level element. At first, that may sound somewhat counterintuitive — you'd think an anchor would keep you in one place instead of sending you someplace else. But think of it the other way around: The anchor", "element is what anchors another web page to your current web page. Following the anchor takes you to the other web page!\n\n#### Formatting a hyperlink\n\nBecause the anchor element is a text-level element, you use it to mark text inside a block. That text then becomes the hyperlink. You add an anchor element using the `<a>` tag. The anchor element is two-sided, so it has both an opening tag (`<a>`) and a closing tag (`</a>`). The text inside the opening and closing tags becomes the hyperlink text.\n\nA few different attributes are", "available for the `<a>` tag, but the most important one is the `href` attribute. The `href` attribute specifies where the hyperlink takes your site visitors:\n\n`<a href=\"http://www.google.com\">Click here to search.</a>`\n\nWhen a site visitor clicks the hyperlink, the browser automatically takes the visitor to the referenced web page in the same browser window. If you prefer, you can also specify the `target` attribute, which specifies how the browser should open the new web page. Here are your options for the `target` attribute:\n\n  *", "`_blank`: Opens the specified page in a new tab or window.\n  * `_self`: Opens the specified page in the current tab or window. This is the default behavior in HTML5, so it's not necessary to add it unless you want to for clarification in your code.\n  * `_parent`: Opens the specified page in the parent window of a frame embedded within the window. Embedded frames aren't popular anymore in HTML5, so this option is seldom used.\n  * `_top`: Opens the specified page in the main window that contains the frame embedded within", "other frames. This is seldom used.\n\nYou use the target attribute like this:\n\n`<a href=\"http://www.google.com\" target=\"_blank\">Click here to search.</a>`\n\n  There's no set rule regarding how to handle opening new web pages, but generally it's a good idea to open other pages on your own website in the same browser tab or window, but open remote web pages in a new tab or window. That way your site visitors can easily get back to where they left off on your website if needed.\n\n#### Displaying a hyper", "link\n\nWhen you specify a hyperlink in the text, the browser tries to make it stand out from the rest of the text, as shown in Figure 1-5.\n\nFIGURE 1-5: Displaying hypertext in a document.\n\nBy default, browsers will display the anchor element text using a different format than the rest of the block text:\n\n  * Unvisited links appear underlined in blue.\n  * Visited links appear underlined in purple.\n  * Active links are when you click an unvisited or visited link with your mouse. When you click", "your mouse, the link becomes active and appears underlined in red.\n\nYou can change these formats to your own liking using CSS styles, as I explain in the next chapter.\n\n#### Specifying a hyperlink\n\nThe `href` attribute defines the location of the web page that you want the browser to open for your site visitor, but there are a few different formats you can use to specify that location:\n\n  * A different location on the same document\n  * A separate web page in the same website\n  * A web page in a remote website\n\nYou can use hyperlinks to force", "the browser to jump to a specific location inside the same web page. This is handy for long web pages that require lots of scrolling to get to sections at the bottom of the page. To use this method, you must first identify the locations in the web page by applying the `id` attribute to a block-level element, such as a heading or a paragraph element:\n\n`<h1 id=\"chicago\">Chicago News</h1>`\n\nTo create an anchor element to jump to that section, you use the `id` attribute value, preceded by a number sign or hash mark (`#`", "):\n\n`<a href=\"#chicago\">See Chicago News</a>`\n\nWhen the site visitor clicks the link, the browser automatically scrolls to place the section in the viewing area of the window.\n\nWhen jumping to another web page on the same server, you don't need to include the full `http://` address in the `href` attribute. Instead, you can specify a _relative address._ The relative address isn't where your uncle lives; it's shorthand for finding another file on the same web server. If the file is in the same folder on the same", "server, you can just specify the filename:\n\n`<a href=\"store.html\">Shop in our online store.</a>`\n\nYou can also place files in a subfolder under the location of the current web page. To do that, specify the subfolder without a leading slash:\n\n`<a href=\"store/index.php\">Shop in our online store.</a>`\n\nIn both cases, the browser will send an HTTP request to retrieve the file to the same server where it downloads the original page from.\n\nTo specify a web page on a remote website, you'", "ll need to use an _absolute address._ The absolute address specifies the location using the _Uniform Resource Locator_ (URL), which defines the exact location of a file on the Internet using the following format:\n\n`_protocol_ :// _host_ / _filename_`\n\nThe _`protocol`_ part specifies the network protocol the browser should use to download the file. For web pages, the protocol is either `http` (for unencrypted connections) or `https` (for encrypted connections). The _`host`_ part specifies the host name, such as `www.", "google.com` for Google. The _`filename`_ part specifies the exact folder path and filename to reach the file on the server. If you omit the filename, the remote web server will offer the default web page in the folder (usually, `index.html`).\n\n  You can also specify local filenames using an absolute path address. Just precede the folder name with a forward slash (`/`). The leading forward slash tells the server to look for the specified folder at the `DocumentRoot` location of the web server, instead of in a subfolder from the current location.\n\n##", "Working with Characters\n\nNo, I'm not talking about Disneyland. I'm talking about the letters, numbers, and symbols that appear on your web pages. Humans prefer to see information as letters, words, and sentences, but computers prefer to work with numbers. To compensate for that, programmers developed a way to represent all characters as number codes so computers can handle them. The computer just needs a method of mapping the number codes to characters.\n\n### Character sets\n\nThe character-to-number mapping scheme is called a _character set._ A character set assigns a unique number to", "every character the computer needs to represent. In the early days of computing in the United States, the American Standard Code for Information Interchange (ASCII) became the standard character set for mapping the English-language characters and symbols in computers.\n\nAs the computing world became global, most programs needed to support more than just the English language. The Latin-1 and ISSO 8859-1 character sets became popular, because they include characters for European languages. But that still didn't cover everything!\n\nBecause it's supported worldwide, the HTML5 standard required more than just European-language"], "context": "", "task": "lrlm", "teacher_scores": [-2.015625, -2.09375, -2.140625, -2.171875, -2.1875, -2.1875, -2.15625, -2.078125, -2.125, -2.140625, -2.109375, -2.125, -2.109375, -2.015625, -2.0625, -2.046875, -2.09375, -2.125, -2.171875, -2.078125, -2.0625, -2.0, -1.9296875, -2.078125, -2.171875, -2.09375, -2.078125, -2.15625, -2.15625, -2.109375, -2.15625, -2.140625, -2.09375, -2.109375, -2.125, -2.03125, -2.171875, -2.125, -2.09375, -2.171875, -2.171875, -2.0625, -2.03125, -2.03125, -2.03125, -2.078125, -2.1875, -2.25, -2.171875, -1.921875, -1.9453125, -2.125, -2.140625, -2.171875, -2.125, -2.09375, -2.09375, -2.046875, -2.0625, -2.109375, -2.0625, -1.875, -1.8203125, -1.9296875]}
{"query_id": 48170, "query": "ly and to give it time to dry before the judging begins. Consider too that it can get very warm in the tent.\nVictoria Sandwich\n\nThis most British of cakes was a Victorian invention, so good they named it after the Queen Empress herself. Made with only a few simple ingredients, the Victoria is a classic test of the home baker's skill as there really is nowhere to hide.\n\nPRESENT Victoria sandwiches for showing should not be iced or filled with cream or buttercream. Do not be mean with the jam, but", "answers": ["there should not be so much that it drips down the sides. Some schedules stipulate paper plates, otherwise choose a flat white plate slightly bigger than the cake.\n\nPERFECT BAKE The top of the cake should be smooth, without bubbles, baked to a light golden colour, and decorated with caster sugar. The layers must be evenly risen and equal in depth, and the edges and sides must be smooth and undamaged. The sponge ought to have a light, open texture but without any large air bubbles, and above all must not"], "pos": [], "neg": ["they work, they work, and if they don't, they don't. I can normally do tomatoes and beans of some ilk, but I never got round to it this year!\n\nSucculent Success\n\nClasses for cacti and succulents have become increasingly popular at local shows. Despite tough competition, Carol won first prize for her entry.\n\nA FAMILY AFFAIR\n\nGardening goes way back in our family. My father used to compete before I did — he used to exhibit at the Royal Horticultural Society", "shows. And, going even further back, Louisa and I have ancestors who were gardeners at Windsor Castle.\n\nStill, we don't get involved with these shows because we feel like we have to keep up some kind of tradition. We do it because we all share a love of gardening. My dad was a gardener, I like gardening, Louisa likes gardening. It's something you pass on to your children: you get them into it young, and it stays with them. You get them to grow a little something, or design a vegetable animal. Most", "shows have children's classes to nurture an interest in gardening in the next generation.\n\n\"I still have the cups in my cabinet from when Louisa won a prize for her flower and vegetable displays at just eight years old.\"\n\nChild's Play\n\nNovelty kids' classes, like Best Vegetable Animal, helped to spark an early interest in horticulture for Carol's daughter.\n\nCOMPETITIVE SPIRIT\n\nSome people can get competitive when it comes to showing; they can take things quite seriously. If they don't", "get a first, they can get upset, wanting feedback.\n\nIt happens in all categories. I've seen bakers complain that the judge hasn't even cut into their cake, not realising that the cake they've baked hasn't been the right size. If the schedule calls for a nine-inch cake, the judges will go around with a ruler and measure every entry. And if they find a cake that's nine-and-a-half or nine-and-a-quarter, they don't even bother cutting it.\n\nAnd", ", of course, when a class is popular, you can get a lot of disappointed exhibitors. One year, we had thirty-odd cakes of one type on the show bench – that's thirty-odd bakers all hoping for a first, when only one can take the trophy. You can put so much effort into your entry, it's not surprising that some people can be unhappy with the result. I'd like to think I'm not like that. I just like to get involved.\n\nBringing the Outdoors In\n\nSince Carol's garden is not", "well suited to growing vegetables, she decided to turn her home into a houseplant paradise, including over a dozen orchids.\nPrimulas\n\nWhile you won't find a class for primulas listed in a schedule, classes for primroses and show auriculas are popular at spring shows and they are both types of (usually) pot-grown primulas.\n\nPREP Remove any faded foliage and flowers and give the pot a clean. Make certain you have correctly identified your primula. Primroses bear flowers on short single stalks, rather than in clusters on", "long stalks. Show auriculas are evergreen primulas with tight clusters of \"salverform\" flowers (trumpet-shaped with a flat face); each flower has a white circle in its centre, called the \"paste\".\n\nPRESENT Assess the angle from which the plant looks its best and stage with this side facing the front.\n\nJUDGING NOTES For both primroses and auriculas, judges are looking for plants in good condition, with well-balanced, healthy foliage, and undamaged flowers that are circular in outline and displaying clear", "colours. The judging criteria include some technical terms that are worth understanding: the \"pip\" is the individual flower in a cluster; the \"truss\" is a cluster of flowers; the \"pedicel\" is the stalk of an individual flower in a cluster; and the \"peduncle\" is the stalk of a single flower.\nTulips\n\nTulips provide bold splashes of colour in spring gardens. There are 15 botanical divisions, but most show schedules will only feature separate classes for single and double flower forms.\n\nSingle, Cup-shaped Tul", "ips\n\nPREP Use a sharp knife to cut the selected stems. Some foliage must be left attached, but trim off any damaged outer leaves.\n\nPRESENT Vases should be in proportion to the length of stem, size of flower, and number of blooms. Use packing material to place stems in an upright position; make sure multiple blooms are attractively arranged and well-spaced. No artificial support or wiring of blooms is allowed.\n\nJUDGING NOTES All tulips, with the exception of those in the Single and Late", "Double and Parrot Groups, must have 6 petals and 6 filaments with anthers. Flowers deviating from this standard are not disqualified, but will only receive an award in the absence of acceptable exhibits. Any exhibit with flowers clearly diseased as a result of tulip-breaking virus will not be considered. Additional points are awarded for uniformity of size and form in classes calling for multiple blooms: up to 5 extra points are awarded in classes for 3 to 6 blooms, and up to 10 points for classes of 9 to 18", "blooms.\n\ntop tips\n\nSome robust tulip cultivars flower year after year, but most are best regarded as annuals and should be lifted after flowering. Bulbs seldom flower well in the second year, but if replanted in autumn they may reach flowering size again in two years.\nIrises\n\nDepending on the show, these graceful beauties can be exhibited in pots or as cut flowers. A single class may be listed, or schedules may distinguish between irises grown from bulbs or rhizomes.\n\nPREP Iris", "es for showing in vases should be cut with a sharp knife, leaving as much stem length as possible. Harvest stems with the leaves still attached, or else cut some blemish-free foliage from the same plant and keep it with the flowers. Select uniform blooms if showing in classes for multiple stems of the same cultivar.\n\nIf showing potted irises, make sure the pot is clean and dress the surface of the compost with fresh gravel. Remove any leaves and flowers past their best.\n\nPRESENT Vases for cut flowers should be in proportion to stem length", ", flower size, and number of blooms. Use packing material to hold stems upright. Ensure multiple blooms are well-spaced and attractively arranged. Position pots with the best side facing the front of the show bench.\n\nJUDGING NOTES Judges may use technical terms to describe the parts of an iris flower, which are worth understanding. \"Falls\" are the three outer petals; these may have small caterpillar-like growths at the base, which are known as \"beards\", or a ridge of petal-like", "material called a \"crest\". \"Standards\" are the three inner petals of the flower, often smaller than the outer falls. More details about the many iris categories and guidelines for judging them can be obtained from the British Iris Society (BIS; www.britishirissociety.org.uk).\n\ntop tips\n\nFor prize-winning irises, you need top-quality bulbs or rhizomes. They should be healthy and firm, with strong growing points and no soft or diseased areas. Smaller than average bulbs or rhizomes", "will not produce flowers in the first season.\nPansies\n\nPansies are a type of viola distinguished by the often large, dark patches on their petals. Garden and exhibition cultivars are usually judged separately, but are scored the same.\n\nGarden Pansies\n\nPREP Pansies are usually shown as single plants in pots. Remove any faded foliage and flowers, give the pot a clean, and give the plant a good soaking of water.\n\nPRESENT Assess the angle from which the plant looks its best and stage with this side facing", "the front of the bench. Label the plant with its cultivar name, if known.\n\nJUDGING NOTES Unlike exhibition cultivars, which are raised from cuttings, garden cultivars are generally raised from seed each year. This means a greater degree of variation will be seen in the appearance of the flowers of a particular garden cultivar, and judges will know to make allowances for this. It's worth understanding some of the technical terms used in the judging criteria: the \"eye\" is the centre of the flower; the \"blotches\" are the dark patches on", "the petals; \"belting\" refers to the margins of the petals outside of the blotches.\nCarnations & Pinks\n\nBoth close cousins of the genus Dianthus, carnations are generally taller than pinks and have double flowers, while pinks include forms with single and semi-double flowers. What they share is a delicate beauty and fabulous scent.\n\nDouble Pink (Laced)\n\nPerpetual Carnation (Fancy)\n\nPerpetual Carnation (Self-coloured)\n\n", "PREP Cut stems longer than needed, for trimming later. Cut foliage sprigs from the same plant and keep together with the stems. Remove wire supports and any bands on the calyces (flower cases).\n\nPRESENT Insert stems and foliage into clear glass vases filled with packing material.\n\nJUDGING NOTES Carnations are classed into two main groups for judging: \"border\" and \"perpetual\". Border carnations should have flowers with no hole or gap in the centre. Petals should be smooth-edged", ", but a slight indentation is permitted. Guard petals (outermost) should be large, broad, and smooth, and carried at right angles to the calyx, while the inner petals should lie regularly and smoothly over them. Centre petals may stand up and form a crown. Perpetual carnations  should have large flowers with full centres. Guard petals should be flat, firm, and well-formed, although the edges may be smooth or regularly serrated. Pinks should have light and dainty flowers, with flat petals and smooth or regularly serrated edges. Guard", "petals should be broad and at right angles to the calyx. Single pinks must have five evenly shaped, overlapping petals. In double pinks, the inner petals should be evenly disposed, becoming smaller towards the centre.\n\nKnow your colour markings\n\nCarnations and pinks may be classed by the colour and markings of their flowers, using the following terms.\n\nSelf-coloured\n\nFlowers of any one clear colour. Commonly referred to as \"selfs\". Applicable to both carnations and pinks.\n\n", "Fancy\n\nFlowers with stripes, flakes, or flecks that contrast with a clear ground colour. Applies to both carnations and pinks.\n\nPicotee\n\nFlowers with a clear ground colour and an even, unbroken margin of contrasting colour around every petal. Colour type only found in carnations.\n\nBi-colour\n\nFlowers must have two colours in concentric zones on every petal, with a clear boundary between the colours. Pinks only.\n\nLaced\n\nFlowers with a contrasting centre and each", "petal margined in the same colour as the centre. Pinks only.\n\nDelphiniums\n\nThese midsummer stars of the cottage garden bear striking floral spires that always command attention. Schedules may include classes for single cultivars and multi-vase displays.\n\nPREP Wait until most of the florets have opened before cutting delphinium spires. Cut some sprigs of foliage from the same plant and keep them together with the spires. Condition flowers by filling the hollow stems with water: plug the stem with cotton w", "ool and tie a rubber band around the base to keep the plug in place and prevent the stem from splitting. Remove any dead leaves and florets.\n\nPRESENT Display spires singly in tall, thin glass vases and insert clean foliage to conceal packing material; there must be no supports above the vase. Flowers must have at least 100mm (4in) of stem visible below the bottom florets.\n\nJUDGING NOTES Good presentation and circular florets with neat and even \"eye\" (central) petals are preferred. There should be", "no signs of stripped florets or conspicuous seed pods. Extra points for uniformity are awarded in multi-vase classes.\n\ntop tips\n\nDelphiniums need to be planted in a sheltered position and given support as they grow, to stop the large spires from breaking in the wind. The ideal set-up is a frame of bamboo canes supporting several tiers of flower rings.\nSweet Peas\n\nWith their delicate petals and delightful scent, sweet peas are a highlight of the summer garden. 'George Priestley", "', 'Jilly', 'Gwendoline', and 'Ethel Grace' are excellent exhibition cultivars.\n\nPREP Cut flower spikes with secateurs, leaving a good length of stem for final trimming at the show. If exhibiting at a larger show, cut some sprigs of foliage from the same plant and keep them together with the spikes.\n\nPRESENT Flowers at larger shows are normally presented in green \"bikini\" vases, with fresh, clean foliage from the same cultivar inserted to conceal the packing material. At smaller shows, sweet", "peas can be staged in mixed bunches, without foliage, in any attractive and suitably sized vase.\n\nJUDGING NOTES Larger shows may feature classes for single cultivars, or mixed classes of 3 or more cultivars. Smaller shows usually ask only for a single bunch of mixed or single-cultivar blooms. Presentation is particularly important if competition is close.\n\nKnow your petal parts\n\nSweet pea flowers are formed from three different petal types known as \"standards\", \"wings\", and \"keel\".", "Standards are the large petals at the back of the flower; the wings and keel form the front part of the flower, with the keel in the middle flanked by the two wing petals.\n\nRoses\n\nCompetition amongst top rose growers can be exacting – one British champion was relegated to second place for having a spider on the back of his bloom! The contest at your local show is likely to be less fierce.\n\nFloribunda Cluster-flowered\n\nMiniature Hybrid Tea\n\nMiniature Cluster-", "flowered\n\nLarge-flowered Hybrid Tea\n\nFloribunda Cluster-flowered\n\nPREP Use secateurs to cut roses, leaving a good length of stem with plenty of foliage. Remove any dirt or insects from blooms by gentle use of a soft brush.\n\nPRESENT Arrange multiple stems so as not to crush blooms, create excessive gaps, or expose expanses of stem or foliage that detract from the flowers. Use of additional foliage will disqualify an exhibit. The heads of", "large-flowered roses may be held erect by a single wire.\n\nJUDGING NOTES The following criteria are applicable to all roses. Petals must be firm, smooth, and a good texture, neither coarse nor flimsy, and blemish-free; their number should be typical for the cultivar. Blooms should be clean and sparkling, a good size for the cultivar, with no signs of tiredness or unnatural preservation. Colours should be glowing and bright, displaying the full depth of the true seasonal colour of the cultivar. Stems", "must be straight, and proportionate in thickness and length to the size of the bloom they support. Foliage should be adequate in quantity and size, as well as undamaged, fresh, clean, and of a colour and substance that is representative of the cultivar. Contact the Royal National Rose Society (RNRS; www.rnrs.org.uk) for information on different rose types and full judging criteria.\n\nKnow your rose terms\n\nThe rose exhibitor's lexicon contains many different technical terms. Here are just a few basic terms used to describe the type", ", number, and quality of blooms:\n\nSingle Bloom\n\nA flower with fewer than eight petals.\n\nSemi-double Bloom\n\nA flower with between eight and 20 petals.\n\nDouble Bloom\n\nA flower with more than 20 petals.\n\nPerfect Stage\n\nBlooms that are half to three-quarters open, with the petals arranged symmetrically within a circular outline.\n\nFull Bloom Stage\n\nBlooms that are fully open, with the petals arranged symmetrically within a circular outline. The stam", "ens, if visible, should be fresh and a good colour.\n\nBegonias\n\nBegonias are mainly tropical plants grown for summer bedding or as pot plants. Tuberous begonias, with their large, showy blooms, are the type most commonly exhibited at shows.\n\nPREP Remove any damaged or dead flowers and leaves. Clean leaves by spraying with water, but keep the blooms dry. Unobtrusive, tidy supports are allowed.\n\nPRESENT Position the plant so that its best view is facing the front of the ben", "ch. Make sure the pot is clean and undamaged, and in proportion to the plant.\n\nJUDGING NOTES Competitors must submit 1 plant in its pot. Plants are only judged for appearance by the side on display and not for \"all-round effect\". The judging criteria given here apply to tuberous begonias; rhizomatous and rex begonias grown for their leaves can be entered into a class for foliage house plants.\n\nAbsolute begonias\n\nStart new tubers into growth six months before the show date, and old", "tubers five months before. Give plants a weekly high-nitrogen foliar feed (sprayed directly on leaves) and, once established, a high-potash fertiliser watered around the roots. Change from a nitrogen to a general fertiliser four months before the show.\nGladioli\n\nGladioli are bulbous plants prized for their tall spikes of funnel-shaped blooms. \"Primulinus\" gladioli have smaller and more loosely packed flowers, and are judged in a separate class.\n\nNon-prim", "ulinus Gladioli\n\nPREP Select non-primulinus spikes one third in full flower, one third buds in colour, one third in green bud. Choose primulinus spikes with 14 to 20 flowers and buds.\n\nPRESENT Show single spikes, either in tall, narrow vases or in their growing pots.\n\nJUDGING NOTES Judges will prefer complete flower spikes, but up to two florets may be removed to improve appearance. The following merits and defects are specific to each gladiolus group: non", "-primulinus gladioli spikes should still carry the bottom bloom. Flowers should hide the stem and gradually narrow from base to top. Spikes should not appear to have too many blooms, but nor should the stem be visible between them. Primulinus gladioli spikes should be slender but strong, carrying 14 to 20 flowers and buds, facing forwards in a light, graceful stepladder arrangement; the upper petals should hood over the centre. Flowers should not look heavy and must not be so tightly positioned as to hide the stem.", "\nFuchsias\n\nFuchsias are summer-flowering shrubs with vivid, pendulous blooms. Shows often include several classes for the different growth habits and ways in which bushes can be trained.\n\nPREP Pick off any dead flowers and leaves, and remove any nectar or pollen from the leaves by gently dabbing with a sponge.\n\nPRESENT \"Standard\" forms (see Judging Notes) may be supported by a single stake. Neat and unobtrusive ties are permitted. Make sure the container", "is clean.\n\nJUDGING NOTES Fuchsias can be shown as either bushes and shrubs, or in trained forms, most commonly a \"standard\". Bush fuchsias have single stems, which must not exceed 40mm (1½in). Shrub fuchsias are plants with more than one shoot and the shoots must come from below compost level. Standard fuchsias are specimens pruned and trained to form a bare upright stem supporting a head of foliage and flowers. Full standards have stems 760–", "1070mm (30–42in) long; half standards 460–760mm (18–30in); quarter standards 250–460mm (10–18in); and mini standards 150–250mm (6–10in).\nPelargoniums\n\nThese South African natives are perfect for summer containers and will flower continuously if grown under cover. They are usually judged in two different classes according to type.\n\nPREP Pelargoniums are judged for \"all", "-round effect\", so turn plants every few days to ensure a balanced display, especially in the run up to the show. Remove any faded foliage and flowers just before staging and give the container a final clean.\n\nPRESENT Make sure the pot is clean and undamaged, and in proportion to the plant, and turn it so that the best side is at the front.\n\nJUDGING NOTES Schedules usually feature two classes, one for ivy-leaved pelargoniums and another for zonal and regal types; both follow the same point system. I", "vy-leaved pelargoniums are trailing plants with lobed leaves (separated into segments). Zonal pelargoniums have rounded leaves marked with a darker \"zone\". Regal pelargoniums are shrubby plants with serrated leaves and delicate, trumpet-shaped flowers.\n\ntop tips\n\nTo encourage flowering, move plants into a pot one size up every six weeks throughout the growing season, and feed with a high-potash fertiliser. Remove any dead flower heads and, every so often, pinch out shoot tips to encourage bushiness.", "\n\nDahlias\n\nFrom midsummer to mid-autumn, dahlias tend to steal the show in the flower competition. Their fractal blooms are at the peak of perfection just before the petals start to fall, so timing is crucial when it comes to exhibiting.\n\nSmall Decorative Dahlias\n\nMedium Decorative Dahlias\n\nBall Dahlias\n\nSemi-cactus Dahlias\n\nCactus Dahlias\n\nMedium-large Semi-cactus Dahlias\n\nPRE", "P Read the full guidelines of the National Dahlia Society (NDS; www.dahlia-nds.co.uk) to be certain you have entered your dahlia into the correct class. There are a staggering 14 different dahlia groups and 9 further subdivisions by size, with only a small margin of error between giant and large, small and miniature. As well as errors in classification, displaying an incorrect number of blooms will also lead to disqualification, and it pays to remember that all flower buds, whether at embryo stage or showing colour,", "are treated as blooms and must be removed over the correct number.\n\nPRESENT Blooms should face in the same direction, be clear of each other, and create a balanced effect; some leaves should remain on the stems. The names of all cultivars should be clearly stated. Blooms given artificial supports above the top level of the vase will be disqualified.\n\nJUDGING NOTES Competitors should consult the standards for each class of dahlia set out by the NDS, which are numerous and detailed. The most we can hope to provide here are a few notable judging criteria", "for some of the most common classes. Single and Collerette dahlias should have 8 or more outer florets (individual parts of a flower head), which can overlap but must not assume double formation. The inner florets, or \"collar\", of Collerettes must be no less than one third of the length of the outer florets. Waterlily dahlias should have fully double blooms and the face of the bloom should appear circular in outline and regular in arrangement. Decorative, Cactus and Semi-cactus dahlias should have sufficient florets to prevent gaps in formation", ", but without overcrowding. Ball dahlias should be ball-shaped, but some flatness on the face of larger cultivars is acceptable. Outer florets must dress back to the stem to complete the ball shape of the bloom. Pompon dahlias must have perfectly globular blooms. The florets must be \"involute\" (turned in at the edges) for the whole of their length, and must dress back fully to the straight, firm stem.\n\nPlanning Ahead\n\nCut stems longer than you need so that you can re-cut them for size when", "staging the display, and bring spare flowers in case any suffer damage on the way to the show.\n\nThe Dahlia Exhibitor\n\nMy name's Jeffery Bennett and I'm a retired farmer. I grow Giant, Ball, and Semi-cactus dahlias for exhibition and I've won quite a few cups with my blooms.\n\nA FLOWER THAT KEEPS ON GIVING\n\nI didn't really do much gardening till retirement. When we were farming the land there was never time. Once we", "'d sold the farm, we started going to the big flower shows, at Chelsea and Hampton Court, and I found it was the dahlias that appealed to me. Dahlias are such big flowers and they will keep blooming from mid-July to the first frosts, which is a tremendous span.\n\nI grow some dahlias under cover in a polytunnel and some out in the garden. The problem with growing dahlias outdoors is if you get a lot of rain at the wrong time the flower is spoilt by rain marks and can't be exhibited", ". But I do still like to see them outside. I dig my show tubers from the ground usually in November for storing over winter. At the end of February or early March I start to wake them up again with a bit of warmth and moisture. When I dig up the tubers, I put daffodils in at the same spot. As the daffodils come into flower the dahlias are just waking up, and when the dahlias are due to go in, the daffodils are ready to come out. That's my cycle. It doesn't do anything benef", "icial for the soil, I just like to see the garden busy.\n\n\"I inspect the flowers and pick the ones I think will do best, then you're on a wing and a prayer hoping they won't go over too quick.\"\n\nCut-and-come-again\n\nDahlias produce more flower stems after cutting, so you can show them again and again through the season.\n\nPERFECTION BEFORE THE FALL\n\nI first entered my dahlias into small village shows and had some success, so I entered in the novice class at a larger hort", "icultural show and won the cup for the best two vases of \"any of the above\". I've won lots of cups since, but I'm always progressing; whatever standard you're at you always want to produce a little bit better.\n\nSuccess is all about how well a bloom has developed by the day of judging. Dahlias are at their best when they are just about to go over and drop their petals, so a bit of luck is required to get it spot on. And I always take many more blooms to the show than I need as there are a lot of", "potholes in the roads round my way! I transport the flowers in crates now and each one is supported by a cane.\n\nFrostbitten, Twice Shy\n\nAfter losing his entire stock to frost damage one year, Jeffery has learnt to give his tubers plenty of insulation during their winter storage.\n\nJUST A BIT OF FUN\n\nWe're a very friendly bunch of dahlia growers. We don't really see each other for the rest of the year, but on show day everyone's very social. We have a chat", ", pick up new ideas, and there's always a bit of leg-pulling. There are never any disagreements as you know yourself when someone's blooms are better than yours, and usually it's just down to luck on the day.\n\nI'm happy competing at this more local level, at what I'd class as \"the fun shows\". The big boys' shows would really be taking it up a notch and I'm not sure I want to get that serious with my hobby.\n\n\"Dahlias are absolutely beautiful flowers and they keep rolling on.", "Not like a peony where it's one bloom and then — bang! It's over.\"\n\nProven Winners\n\nJeffery first chose the dahlias he now enters in show by seeing which cultivars were winning prizes and assessing whether he could grow them better.\nChrysanthemums\n\nAt specialist shows you may find classes for each of the 30 different types of chrysanthemums, but at smaller shows the most common are large or medium exhibition types and sprays.\n\nLarge Exhibition Intermediate\n\nDisbudded", "Spray\n\nNatural Spray\n\nLarge Exhibition Incurved\n\nPREP Select the most perfect blooms with a good amount of foliage. Cut with secateurs, leaving as much length to the stems as possible for trimming at the show. A cut chrysanthemum may struggle to absorb water. To assist water-uptake, you can make an upwards slit of about 75mm (3in) in the portion of stem that will sit under water. Remove any dead leaves and florets just before the show. Leaves can be cleaned", "by spraying with water and gently wiping, but keep the blooms dry.\n\nPRESENT Display in a vase proportionate to the number and length of stems being shown. Use packing material, such as \"oasis\", to position the stems. If showing multiple blooms, make sure they are neatly arranged and spaced so that the judges can easily inspect them. The blooms of large and medium exhibition cultivars can be supported by rings, and neatly tied canes may be used to support the stems of all types, provided they are unobtrusive", "and do not detract from the exhibit.\n\nJUDGING NOTES Check you are entering your blooms into the correct class. Large and medium exhibition chrysanthemums will have had their flower heads \"disbudded\", which is where multiple flower buds are removed from the stem to leave only one central flower head. They may be further subdivided into classes for the form of the flower head, which can be \"incurved\", \"reflexed\", or \"intermediate\". Incurved flowers have florets (individual parts of the flower head) that open from the base and", "curve upwards. Reflexed flowers have florets that open from the crown (top) of the flower head, curving downwards and inwards. Intermediate flowers have florets that mainly curve upwards, but with some of the lower florets curving downwards. Spray chrysanthemums are those that have undergone limited disbudding or none at all, so that they produce several different blooms per stem. Natural sprays have been allowed to grow much as nature intended, without any disbudding, whereas exhibition sprays will have been partially disbudded, for example where the", "central bud is removed to give a more rounded outline to the spray. If you are uncertain which class your chrysanthemums should be entered into, contact the secretary of the National Chrysanthemum Society (NCS; www.nationalchrysanthemumsociety.co.uk) who will be able to send you full details of the many different chrysanthemum categories and guidance on the qualifying size of blooms.\n\nTips & Tricks\n\nHOMECRAFT Classes\n\nThanks to the continuing popularity of home baking and a resurgence of", "interest in preserving, the homecraft tent is guaranteed to see stiff competition from old-hands and novices alike. Most points are awarded for taste and texture, but errors in presentation will be marked down and risk disqualification.\n\nPreserve Classes\n\nPREPARATION Check if the size of jar is stipulated in the schedule before potting up the preserve. If applying labels before transit, wait until the preserve has completely cooled; labels must identify the main ingredients (usually the full recipe name is sufficient) and date made. If tying a decorative card", "tag to the jar, it is best to attach it at the show to avoid the risk of crushing in transit. If taking more than one unlabelled preserve of a similar appearance, ensure you have a way of telling them apart, such as a discreet sticker on the base.\n\nTRANSIT Jars of preserves are relatively easy to transport. Pack them into a box or container that has been well lined with tea towels to ensure the heavy pots don't shift around or crack against each other during transit.\n\nPRESENTATION Stage on the show bench with", "labels clearly visible from the front. Affix labels to the jar if you haven't already done so.\n\nJammy mix up\n\nSome shows offer mixed preserve collections, in which exhibitors are required to enter a variety of preserves. As with classes for single preserves, each jar should be individually labelled and dated. Use matching jars for a neat presentation.\n\nBaking Classes\n\nPREPARATION For most classes, except for enriched fruit cakes, bake as near to the show day as possible. Ensure all schedule specifications are followed, from using the correctly s", "ized tin to following the steps of a set recipe. If possible, bake more than the specified quantity, so you have a range of bakes and spares to choose from on the day.\n\nTRANSIT Store bakes in a cake tin or similar airtight container lined with kitchen towel. Do not overfill a container with small bakes, as this may damage them. To transport a large cake, place it on the inverted cake tin lid and then lower the drum over it; this avoids the risk of damage when placing it in the tin and makes it easier to lift", "out at the show. Remember to bring any spare bakes with you, in case anything gets damaged en route. If icing your bakes at the show, ensure you bring the required equipment, as well as the icing in a sealed container.\n\nPRESENTATION Arrange small bakes neatly on a clean plate, with a doily underneath, if preferred. Large cakes and tarts should be placed on a plate slightly larger than the circumference of the cake. Bread loaves may often be staged directly on to the show bench. Label all bakes with"], "context": "", "task": "lrlm", "teacher_scores": [-2.375, -2.40625, -2.40625, -2.40625, -2.40625, -2.359375, -2.359375, -2.359375, -2.421875, -2.421875, -2.3125, -2.34375, -2.375, -2.375, -2.34375, -2.421875, -2.328125, -2.375, -2.40625, -2.390625, -2.40625, -2.359375, -2.34375, -2.34375, -2.296875, -2.359375, -2.34375, -2.328125, -2.3125, -2.359375, -2.328125, -2.328125, -2.359375, -2.328125, -2.328125, -2.375, -2.375, -2.390625, -2.3125, -2.375, -2.40625, -2.359375, -2.296875, -2.34375, -2.390625, -2.390625, -2.390625, -2.359375, -2.359375, -2.359375, -2.390625, -2.390625, -2.375, -2.34375, -2.3125, -2.34375, -2.40625, -2.40625, -2.34375, -2.296875, -2.34375, -2.34375, -2.375, -2.375]}
